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Win a Solo Exhibition in June 2026 + An Exclusive Interview!
Win a Solo Exhibition in June 2026 + An Exclusive Interview!
Deb Achak
Deb Achak
Deb Achak

Deb Achak

Country: United States

Raised in New Hampshire, Deb Achak holds a master's degree in social work and is a self-trained photographer and filmmaker. She lives in Seattle, WA with her husband and sons in a grand old home that was once a bed and breakfast. Deb's fine art photography explores natural elements of water and grasses - earth elements with clean, simple compositions meant to calm and soothe. Her children are also a growing subject of her fine art work. Her photographs have been exhibited at the Black Box Gallery, Portland, OR; Sante Fe Photographic Workshops, Sante Fe, NM; the SE Center for Photography, Greenville, SC: and Vermont Center for Photography, Brattleboro, VT.

About She Told Us To Trust Our Intuition
My mother's last words to my siblings and I before she died were "trust your gut instincts". It's struck me over the years how profound and revolutionary that one simple phrase is. It has become my mantra - my north star. When we still our mind, free it of conscious thought, intuition can be heard and felt, and becomes the perfect guide. Some years ago, I started to notice that when I am in a deep flow with my art, it becomes a meditation and I am able to hear my inner voice with complete clarity. In this series I use water, color, movement and the human form to express the meditative quality I feel when I am in synch with the flow of creating. I seek to capture that single moment where my camera, my intuition, and the natural world are perfectly aligned, and to give gratitude to my mother for bestowing such a powerful parting gift.

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More Great Photographers To Discover

Michael Wolf
Germany/United States
1954 | † 2019
The focus of the German photographer Michael Wolf’s work is life in megacities. many of his projects document the architecture and the vernacular culture of metropolises. Wolf grew up in Canada, Europe, and the United States, studying at UC Berkeley and at the Folkwang School with Otto Steinert in Essen, Germany. He moved to Hong Kong in 1994 where he worked for 8 years as a contract photographer for Stern Magazine. Since 2001, Wolf has been focusing on his own projects, many of which have been published as books. Wolf’s work has been exhibited in numerous locations, including the Venice Bienniale for Architecture, Aperture Gallery, New York; Museum Centre Vapriikki, Tempere, Finland, the Museum for Work in Hamburg, Germany, Hong Kong Shenzhen Biennial, the Museum of Contemporary Photography, Chicago. His work is held in many permanent collections, including the metropolitan museum of art in New York the Brooklyn Museum, the San Jose Museum of Art, California; the Museum of Contemporary Photography, Chicago; the Museum Folkwang, Essen, Germany and the German Museum for Architecture, Frankfurt, Germany. He has won first prize in the World Press Photo Award competition on two occasions (2005 & 2010) and an honorable mention (2011) In 2010, Wolf was shortlisted for the Prix Pictet photography prize. He has published more than 13 photo books including Bottrop Ebel 1976 (Peperoni Press, 2012), Tokyo Compression Three (Peperoni Press / Asia One, 2012), Architecture of Density (Peperoni Press / Asia One, 2012), Hong Kong Corner Houses (Hong Kong University Press, 2011), Portraits (Superlabo, Japan, 2011), Tokyo Compression Revisited (Peperoni Press / Asia One, 2011), Real Fake Art (Peperoni Press / Asia One, 2011), FY (Peperoni Press, 2010), A Series of Unfortunate Events (Peperoni Press, 2010), Tokyo Compression (Peperoni Press / Asia One, 2010), Hong Kong Inside-Outside (Peperoni Press / Asia One, 2009), The Transparent City (Aperture, 2008) and Sitting in China (Steidl, 2002). Source: photomichaelwolf.com Michael Wolf’s work examines life in the layered urban landscape, addressing juxtapositions of public and private space, anonymity and individuality, history, and modern development. In a diverse array of photographic projects, from street views appropriated from Google Earth, to portraits capturing the crush of the Tokyo Subway, and dizzying architectural landscapes, Wolf explores the density of city life. Wolf currently lives and works in Hong Kong and Paris. His photographs are in the permanent collections at the Metropolitan Museum of Art, New York; the Folkwang Museum, Essen, Germany; The Brooklyn Museum; the Cleveland Museum of Art; the Nelson-Atkins Art Museum, Kansas City; and the Museum of Contemporary Photography, Chicago among others, and have been exhibited at the Museum of Photographic Arts, San Diego (2011), Goethe Institute in Hong Kong (2010), Fotographie Museum, Amsterdam (2010), Museum of Contemporary Photography, Chicago (2008), Victoria and Albert Museum, London (2008), and the Massachusetts Museum of Contemporary Art (2008), among others. Wolf was awarded First Place in the 2010 World Press Photo Award contest in the Daily Life category, and was shortlisted for the 2010 Prix Pictet. Wolf's numerous monographs include Tokyo Compression Revisited (Peperoni Books, 2011), Real Fake Art (Peperoni Books, 2011), Tokyo Compression (Peperoni Books, 2010), Hong Kong: Inside/Outside (Peperoni Books, 2009), The Transparent City (Aperture and MoCP, 2008), Hong Kong: Front Door/Back Door, (Thames & Hudson, 2005), and Sitting in China (Steidl, 2002). Source: Robert Koch Gallery Michael Wolf was born in 1954 in Munich, Germany. He grew up in the United States, Europe, and Canada, and studied at UC Berkeley and at the Folkwang School in Essen, Germany. In 1994, Wolf moved to Hong Kong and worked for eight years as a contract photographer for Stern magazine, until he left to pursue his own projects. Wolf's photographic work in Asia focuses on the city and its architectural structures and follows on from his interest in people and human interaction. He has published seven photobooks to date. Wolf's work has been exhibited extensively in galleries and art fairs throughout the world since 2005 and is held in permanent collections across the US and Germany. Wolf has won previously won a World Press Photo award, the first prize in Contemporary Issues stories in 2005. Source: World Press Photo
Liu Bolin
China
1973
Liu Bolin is an artist born in China’s Shandong province in 1973, and he earned his Bachelor of Fine Arts from the Shandong College of Arts in 1995 and his Master of Fine Arts from the Central Academy of Fine Arts in Beijing in 2001. His work has been exhibited in museums around the world. Also known as "The Invisible Man", Liu Bolin's most popular works are from his "Hiding in the City" series; photographic works that began as performance art in 2005. Liu belongs to the generation that came of age in the early 1990s, when China emerged from the rubble of the Cultural Revolution and was beginning to enjoy rapid economic growth and relative political stability. Since his first solo shows in Beijing in 1998, Liu Bolin’s work has received international recognition. Among other international venues, his distinctive photographs and sculptures have been shown at the major contemporary photography festival Les Rencontres d'Arles and he had solo shows at Dashanzi Art Zone in Beijing (2007), Galerie Bertin-Toublanc in Paris (2007), Eli Klein Fine Art in New York (2008), Galerie Paris-Beijing in Paris and Brussels (2013), Boxart Gallery in Verona (2008), Forma Foundation for Photography in Milan (2010). To celebrate US President Obama's visit to China, he made an effigy of Obama in his honor. He now lives and works in Beijing, China. Source: Wikipedia Born in 1973 in the northern province of Shandong, Liu Bolin trained at the prestigious Central Academy of Fine Arts, a student of the renowned artist Sui Jianguo, who mentored him at the beginning of his career. Liu belongs to the generation that came of age in the early 1990s, when China emerged from the rubble of the Cultural Revolution and was beginning to enjoy rapid economic growth and relative political stability. Liu Bolin is best known for his series of performance photography Hiding in the City. Since his first solo shows in Beijing in 1998, Liu Bolin’s work has received international recognition. Among other international venues, his distinctive photographs and sculptures have been shown at the major contemporary photography festival Les Recontres d'Arles and he had solo shows at Dashanzi Art Zone in Beijing (2007), Galerie Bertin-Toublanc in Paris (2007), Eli Klein Fine Art in New York (2008), Boxart Gallery in Verona (2008/2010). He now lives and works in Beijing. Source: Box Art Gallery Better known as The Invisible Man in media circles. He discusses the social concerns of his home country through his artistic practice, most prominently through his ‘camouflage’ installations. Traversing mediums such as performance, photography, Liu Bolin dissects the tense relationship between the individual and society by ‘disappearing’ into environments which are sites of contention and criticism. His “Hiding in the City” series has been displayed in numerous museums and institutions across the globe. Inspired by his powerful visual messages, artists and institutions and organizations such The Louvre (Paris, France), Harper’s Bazaar Magazine, JR, Carlos Cruz-Diez, Jon Bon Jovi and Kenny Scharf have invited Liu Bolin to collaborate on creative projects.Source: Liu Bolin Studio
Fausto Podavini
Fausto Podavini was born in Rome, where he still lives and works. His passion for photography began when he was 18, first as assistant and studio photographer, then working on ethnological and social reportage. In 1992, he worked at MIFAV, the photography museum at Tor Vergata University in Rome and then studied at the John Kaverdash photography academy in Milan, taking a master’s degree in reportage. Podavini left studio photography to dedicate himself exclusively to reportage, and is nowadays a freelance photographer, collaborating with a number of NGOs. He has covered issues in Italy, Peru, Kenya, and Ethiopia, where he is currently developing personal photographic projects.Italian social reportage photographer Fausto Podavini is honoured this year as both third place winner in the 2013 Sony World Photography Awards Lifestyle category as well as first prize for the 2013 World Press Photo's 'Daily Life' category. His winning series, follows the relationship of Mirella and Luigi as Mirella cared for for husband at home in Rome. Married for over 40 years, Luigi began experiencing symptoms of Alzheimer's disease. For six years, Mirella tended to her husband's needs due to the progressive degenerative illness. After five years of living with Alzheimers, Luigi no longer recongised his wife; he died in May 2011 with her at his bedside. Podavini's intimate and delicate series follows Mirella for four years. WPO's Kaley Sweeney spoke to the photographer a bit more about his experiences developing the long term project. (Source: World Photography Organisation)
 JR
France
1983
JR has the largest art gallery in the world. Thanks to his photographic collage technique, he exhibits his work free of charge on the walls of the whole world - attracting the attention of those who do not usually go to museums. Originator of the 28 Millimeters Project which he started in and around Clichy-Montfermeil in 2004, continued in the Middle East with Face 2 Face (2007), in Brazil and Kenya for Women Are Heroes (2008-2011), the documentary for which was presented at the Cannes Film Festival in 2010 (Critics' Week). JR has created "Infiltrating art". During his collage activities, the local communities take part in the act of artistic creation, with no stage separating actors from spectators. The anonymity of JR and the absence of any explanation accompanying his huge portraits leave him with a free space in which issues and actors, performers and passers-by meet, forming the essence of his work. In 2011 he received the Ted Prize, giving him the opportunity to make a vow to change the world. He created Inside Out, an international participatory art project that allows people from around the world to receive a print of their portrait and then billboard it as support for an idea, a project, an action and share that experience. In 2014, working with the New York City Ballet, he used the language of dance to tell his version of the riots in the Clichy-Montfermeil district. He created The Groves, a ballet and short film, the music for which was composed by Woodkid, Hans Zimmer and Pharrell Williams, and which was presented at the Tribeca Film Festival. At the same time, JR worked in the abandoned hospital of Ellis Island, an important place in the history of immigration - and made the short film ELLIS, with Robert De Niro. In 2016, JR was invited by the Louvre, whose pyramid he made disappear the with the help of an astonishing anamorphosis. The same year, during the Olympic Games in Rio, he created gigantic new sculptural installations throughout the city, to underline the beauty of the sporting gesture. JR & Agnès Varda - Faces, Places. In 2017, he co-directed with Agnès Varda "Faces, Place"s, screened the same year in the official selection out of competition for the Cannes Film Festival. The film won the Golden Eye (for best documentary) and was nominated for a Caesar and an Oscar in the same category in 2018. He has received other awards around the world. In 2013, the first retrospectives of JR's work took place in Tokyo (at the Watari-Um Museum) and the Cincinnati Contemporary Arts Center, followed by exhibitions at the Frieder Burda Museum in Baden Baden in 2014, and at the HOCA Foundation in Hong Kong in 2015. He exhibited in 2018 at the Maison Européenne de la Photographie in Paris, and in 2019 at the San Francisco Museum of Modern Art (SFMOMA) and the Brooklyn Museum. Source: jr-art.net
Hendrik Kerstens
Netherlands
1956
Since 1995, Dutch photographer Hendrik Kerstens has been photographing his daughter, Paula. His photographs have been collected by museums around the world and have inspired taste-makers as diverse as Elton John and Alexander McQueen. (McQueen, in fact based his Fall 2009 collection on Kerstens' image of Paula with a plastic bag as a head-dress, using the image as his invitation for the show.) Initially Kerstens' photographs were created out of the artist's desire to capture something of the fleeting moments that fade of childhood. The pictures recorded everyday events – his daughter's sunburn, the child's bath. However, one day there was a moment of revelation when Kerstens not only saw her in relation to the events of her own life, but also projected on her his interest in the Dutch painters of the seventeenth century.
 As Kerstens recalls, "One day Paula came back from horseback riding. She took off her cap and I was struck by the image of her hair held together by a hair-net. It reminded me of the portraits by the Dutch masters and I portrayed her in that fashion. After that I started to do more portraits in which I refer to the paintings of that era. The thing that fascinates me in particular is the way a seventeenth-century painting is seen as a surface which can be read as a description of everyday life as opposed to the paintings of the Italian renaissance, which usually tell a story. Northern European painting relies much more on craftsmanship and the perfect rendition of the subject. The use of light is instrumental in this." A number of the portraits of Paula are clearly reminiscent of Johannes Vermeer. The austerity of the photograph, its clarity, the serene expression on the young girl's face, and not least, the characteristic "Dutch" light, all combine to create this impression.
 However, Kerstens was not just imitating painting. As the series progressed, he became increasingly interested in the game of creating a conceptual and humorous dialog between past and present. The titles give the game away. "Napkin" looks like a maid's bonnet. In "Bag", a plastic grocery bag is shaped to look like a lace hood. In other pictures no pretense is made to imitate 17th century clothing but Paula's face and Kerstens' light turn a thoroughly modern hoodie into a classic and timeless garment. Conceptually, Kerstens' photographs play with the dialog between the mediums of painting and photography, with seriality, and time. On a more emotional level, they address everyday reality while expressing his love for his child, and the knowledge and development of his craft.Source: Danziger Gallery Hendrik Kerstens' (1956) oeuvre consists of a consequent sequence of portraits from his muse, his daughter, each time with a different angle, meaning or purpose. In the hemisphere of the radically realist paintings of the Dutch Golden Age, Kerstens explores the photograph as a surface, a platform to study contemporary ordinary objects and its meaning in historical tradition. With his typical selection for down-to-earth forms of headwear, from a napkin, a wet towel, spheres of lace to folded aluminium foil, he recalls how daily life has always been an integral subject of art, whether in the 17th or in 21st century. With his clear ambition to illustrate the dialogue between history and contemporary life, rich and sober, functional and valuable, Kerstens also accomplishes to renew and contemporize history while boosting the position and function of day-to-day objects. In connecting todays photography techniques with the camera obscura techniques in earlier times, Kerstens raises awareness for the use and development of the photographic process. It is not accidental that he is a state-of-the-art perfectionist, taking nothing for granted and giving a lot of attention to the work process. The printing proces itself, the hardly visible transition of the many dark tones, the interplay of light and shadow, Kerstens dedicates himself completely in refining the image, where details and the way of looking play a key role. Kerstens, who worked many times with Kathy Ryan from The New York Times Magazine, was awarded the PANL award (2001) in the Netherlands; the Taylor Wesing Photographic Portrait Prize (2008) at the National Portrait Gallery in London, the silver LeadAward Medaillon, Porträtfotografie des Jahres (2010) in Germany and the 11th Lucie Award (2013). Kerstens work and ideas were included in Alexander McQueen's spectacular show The Horn of Plenty: Everyting but the Kitchen Sink, a retrospective on 15 shocking years in fashion.Source: Flatland Gallery Galleries:   Danziger Gallery   Jenkins Johnson Gallery   Dean Project   Flatland Gallery
Filippo Venturi
Filippo Venturi is an Italian documentary photographer working on editorial, corporate, commercial assignments and personal projects. His works have been published in different newspapers and magazines such as The Washington Post, Financial Times, Vanity Fair, Internazionale, La Stampa, Geo, Marie Claire, Die Zeit, Gente, D di Repubblica, Io Donna/Corriere della Sera. He cooperates with several agencies in Italy and abroad for advertisement projects. He also pursues many personal stories and projects on the critical issues that he finds interesting. In 2016 his work, "Made in Korea" about South Korea, has been hosted at the Italian Center for Fine Art Photography in Bibbiena, at Modena's Foro Boario as New Talent selected by the Modena Foundation Photography, at Rome's Museum of Contemporary Art (MACRO) as selected Emerging Talent and at Somerset House in London by the Sony World Photography Awards. In 2017 he was the photographer sent by Vanity Fair in North Korea. In 2018 he is Testimonial Photographer for Fujifilm.I work as a multi-disciplinary photographic artist specialising in conceptual documentary and reportage Photography. I look at identity, displacement and the human condition. I also work as a photojournalist, documentary filmmaker and freelance commercial photographer.About Korean Dream Between 1905 and 1945 Korea was dominated by the Japanese, thus becoming a colony of the Empire. In 1945, after Japan's defeat, Korea was involved in the Cold War and became an object of interest for the USA, the URSS and lately for China as well. This brought to the division of the country in two along the 38th parallel and to the Korean War between 1950 and 1953. On the 27th of July of 1953, an armistice was signed but a declaration of peace never followed, leaving the country in a permanent state of conflict. North Korea is officially a socialist State with formal elections but in fact, it is a totalitarian dictatorship based on the cult of the Kim dynasty, practically an absolute monarchy. Since 1948 the country was ruled by Kim Il-Sung, the "Great Leader"; in 1994 his son, Kim Jong-II the "Dear Leader" succeeded him and until in 2011 Kim Jong-Un, his son, the "Brilliant Comrade" became Supreme Leader. North Korea is one of the most secluded countries in the world, we know little about it and the citizens' rights are subdued to the country's needs. Citizens have no freedom of speech, media are strictly controlled, you can travel only with authorization and it is not allowed to leave the country. The few foreign travellers who get the visa can travel the country only with authorized Korean guides, who have also the task of controlling, censoring and finding spies. Pyongyang, the capital, is the centre of all the resources and the country's ambition to boast a strong and modern façade (the rest of North Korea is composed of countryside, rice-fields and villages usually with no water, electricity or gas). The continuous and incessant propaganda against the USA portraits the South Korean population as a victim of the American invasion; young generations live in a constant alert state as if the USA could attack any day. At the same time, the propaganda aims at instilling a great sense of pride for the country's technical progression, fueled by the Supreme Leader and culminating in the atomic bomb and the subsequent tests. Pyongyang youngsters have been educated to be learned and knowledgeable people, especially in the scientific field, to foster the development of armaments and technology, chasing the dream of reuniting Korea in a whole and free state.
Max Yavno
United States
1911 | † 1985
Max Yavno (1911-1985) was a photographer who specialized in street scenes, especially in Los Angeles and San Francisco, California. The son of Russian immigrants, Yavno was born in New York on April 26, 1911. He had one sister. He was married at age 19 and divorced three years later. He died in April 1985 of complications resulting from a fall in a shower. Yavno worked as a Wall Street messenger while attending City College of New York at night. He attended the graduate school of political economics at Columbia University and worked in the Stock Exchange before becoming a social worker in 1935. He did photography for the Works Progress Administration from 1936 to 1942. He was president of the Photo League in 1938 and 1939. Yavno was in the U.S. Air Force from 1942 to 1945, after which he moved to San Francisco and began specializing in urban-landscape photography. History professor Constance B. Schulz said of him: "For financial reasons he worked as a commercial advertising photographer for the next twenty years (1954–75), creating finely crafted still lifes that appeared in Vogue and Harper's Bazaar. He returned to artistic landscape photography in the 1970s, when his introspective approach found a more appreciative audience. Funding from the National Endowment for the Arts enabled him to travel to Egypt and Israel in 1979." He also captured a pre-Dodgers Chavez Ravine, a giant plaster leg on top of a building in West Los Angeles and a "nostalgic" shot of a cable car being turned around at Powell and Market streets in San Francisco. His noted photograph of a crowd watching "sun-worshipping bodybuilders at Muscle Beach in Venice" sold at auction in 1984 for almost $4,000. He said he had spent three Sundays at the beach before the subjects "stopped flexing for his camera and resumed posing for each other." His obituary in the Los Angeles Times said that: Melrose Avenue photo gallery owner G. Ray Hawkins, who represented Yavno and exhibited his works, called him a "social documentarian" and noted that he had "a very special ability for combining composition and content while capturing his social vignettes." Photographer Edward Steichen selected twenty of Yavno's prints for the permanent collection at New York's Museum of Modern Art in 1950, and the next year Yavno won a Guggenheim Fellowship. Source: Wikipedia Yavno graduated from City College of New York in 1932 and earned a graduate degree in business administration from Columbia University in 1933. Originally employed as a social worker for the New York Home Relief Bureau (1935), he was later hired by the Works Progress Administration to photograph city locations for use in theater set design (1936-42). Yavno joined the Photo League in the late 1930s, serving as president in 1938-39 and participating in several exhibitions. He became friends with Consuelo Kanaga, who mentored him in his photographic work. He worked with Aaron Siskind on his unfinished project The Most Crowded Block in the World (1941). Yavno was drafted into the Army Air Force that year, but remained on detached service in New York. He later moved to California, where he provided illustrative photographs for two books: The San Francisco Book, with Herb Caenn (1948) and The Los Angeles Book, with Lee Shippey (1950). In the mid-seventies, Yavno resumed noncommercial photography, expanding his terrain from the streets of New York City and Los Angeles to those of Jerusalem and Cairo. Source: The Jewish Museum
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AAP Magazine #58 B&W
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Latest Interviews

Exclusive Interview with Carolyn Moore
American photographer Carolyn Moore explores the inner landscape of emotion, memory, and personal transformation through a deeply intuitive photographic practice. Her work unfolds as a quiet dialogue between artist and viewer, where images become a space for reflection, vulnerability, and connection.
Exclusive Interview with Luca Desienna and Laura Estelle Barmwoldt
For over seven years, Of Lilies and Remains has explored the depths of the goth and darkwave underground, unfolding in Leipzig—a city long associated with a vibrant and enduring subcultural scene. Moving between iconic gatherings such as Wave-Gotik-Treffen and more intimate moments on the fringes, the project offers a rare and immersive glimpse into a world often misunderstood, yet rich in expression and community. Created by Luca in collaboration with Laura Estelle Barmwoldt, the work embraces a cinematic and deeply personal approach. Rather than documenting from a distance, it moves within the scene itself, capturing its atmosphere, its codes, and its quiet contradictions. The title Of Lilies and Remains hints at this duality—where beauty and darkness, fragility and strength coexist. As the book prepares for its release, we spoke with both artists about the origins of the project, their process, and what it means to document a subculture that continues to evolve while remaining true to its spirit.
Exclusive Interview with Matthew Finley
American photographer Matthew Finley turns inward, using photography as a way to explore identity, memory, and emotional truth. Based in Los Angeles, his practice moves between performance, gesture, and found imagery, creating a visual language that is both intimate and deeply personal
Exclusive Interview with Jan Janssen
Dutch photographer Jan Janssen explores universal human experiences through his long-term project It Matters, winner of the May 2025 Solo Exhibition. Begun in 2016, the series captures intimate moments of everyday life—love, loss, connection, and belonging—across Central and Eastern Europe. Working in countries such as Turkey, Azerbaijan, and Armenia, Janssen spends extended time within communities, building relationships based on trust and respect. His approach allows him to move beyond observation, revealing deeply human and authentic moments. Rooted in travel and personal discovery, It Matters reflects Janssen’s search for what connects us all in an increasingly divided world. The project is ongoing and will culminate in a photobook scheduled for publication in 2026.
Exclusive Interview with Henk Kosche
German photographer Henk Kosche turns his lens toward the streets of Halle an der Saale, capturing everyday life in the late years of the former German Democratic Republic. At the time, Kosche was studying design and exploring the city with his camera, drawn to the atmosphere of its industrial landscape and the quiet rhythms of daily life. His series Street Photography at the End of the 80s, selected as the Solo Exhibition for July 2025, revisits a body of work created just before a period of profound change. Rediscovered decades later in a small box of 35mm negatives, these photographs offer glimpses of a city and its people at a moment suspended between the familiar and the unknown.
Exclusive Interview with Anastasia Samoylova
Anastasia Samoylova is an American artist whose photographic practice is shaped by close observation and a deep attentiveness to place. Working between documentary and formal exploration, she photographs landscapes, architecture, and everyday scenes with a sensitivity to light, structure, and atmosphere. Since relocating to Miami in 2016, her work has increasingly focused on how environments—both natural and built—carry social, cultural, and emotional traces. We asked her a few questions about her practice and her way of seeing, to better understand the thoughts and experiences that shape her work—while allowing the images themselves to remain open and speak in their own time.
Exclusive Interview with Marijn Fidder
Marijn Fidder is a Dutch documentary photographer whose work powerfully engages with current affairs and contemporary social issues. Driven by a deep sense of social justice, she uses photography to speak on behalf of the voiceless and to advocate for the rights of those who are most vulnerable. Her images have been widely published in major international outlets including National Geographic, CNN Style, NRC Handelsblad, Volkskrant, GUP New Talent, and ZEIT Magazin. Her long-term commitment to disability rights—particularly through years of work in Uganda—culminated in her acclaimed project Inclusive Nation, which earned her the title of Photographer of the Year 2025 at the All About Photo Awards. She is also the recipient of multiple prestigious honors, including awards from World Press Photo and the Global Peace Photo Award. We asked her a few questions about her life and work.
Exclusive Interview with Josh S. Rose
Josh S. Rose is a multidisciplinary artist working across photography, film, and writing. His practice bridges visual and performing arts, with a strong focus on movement, emotion, and the expressive potential of the image. Known for his long-standing collaborations with leading dance companies and performers, Rose brings together authenticity and precise composition—a balance he describes as “technical romanticism.” His work has been commissioned and exhibited internationally, appearing in outlets such as Vogue, at the Super Bowl, in film festivals, and most recently as a large-scale installation for Lincoln Center for the Performing Arts. A sought-after collaborator, he has worked with major artists, cultural institutions, and brands, following a previous career as Chief Creative Officer at Interpublic Group and the founder of Humans Are Social. We asked him a few questions about his life and work.
Interview with Maureen Ruddy Burkhart
Photographer Maureen Ruddy Burkhart brings a quietly attentive and deeply human sensibility to her exploration of the world through images. Shaped by a life immersed in photography, film, and visual storytelling, her work is guided by intuition, observation, and an enduring interest in the emotional undercurrents of everyday life. With a practice rooted in both fine art traditions and documentary awareness, she approaches her subjects with sensitivity, allowing subtle moments to emerge naturally rather than be imposed. Her series Til Death, selected as the Solo Exhibition for February 2025, reflects this long-standing commitment to photography as a space for reflection rather than spectacle. Drawn to moments that exist just outside the expected frame, Burkhart’s images suggest narratives without resolving them, leaving room for ambiguity, humor, and quiet connection. We asked her a few questions about her life and work.
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