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Last Call to WIN A Solo Exhibition this December! Juror: Ed Kashi
Last Call to WIN A Solo Exhibition this December! Juror: Ed Kashi
Kosuke Kitajima
Kosuke Kitajima
Kosuke Kitajima

Kosuke Kitajima

Country: Japan
Birth: 1987

Born in 1987, lives in Hamamatsu City.
Studied design at Hikomizu's Jewelry College, but learned the fun of taking photos with a camera that I got while studying.
After graduating from school, I returned home to become a photographer.
Club event shooting in Hamamatsu City as K & K Photography.
In 2016, I got acquainted with a photograph of Mt. Fuji and noticed its charm.
​Currently, he continues to take pictures with the theme of "beautiful Japan to the world".

Statement
I'm filming Mt. Fuji, landscapes, animals and culture in Japan under the theme of ''beautiful Japan to the world '.
 

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More Great Photographers To Discover

Flor Garduño
Mexico
1957
Flor Garduño was born in Mexico and studied visual arts at the Academy of San Carlos (UNAM), where she focused on the search for the structural aspects of form and space. She became especially interested in the work of Kati Horna, a Hungarian photographer whose communicative dimension of her photographs had a great impact on the development of Garduño's aesthetic. She gave up her studies to work as a darkroom assistant for Manuel Álvarez Bravo, one of Mexico's most prestigious photographers, with whom she strengthened her photographic skills. Since then, Garduño has received numerable prizes, and her work has been exposed and published around the world. Garduño's photos depict the landscapes of Central and South America -- and the people whose ancestors were indigenous to the region. Her photos depict subjects that could have existed in a time long before the present moment, and through photographing them, brings the Indian land of America to the present moment. She addresses time -- past, present, and future -- simultaneously through her photographs. Through her photos we witness the slow procession from life to death, interrupted by comic accidents, childish play, liturgical ceremonies, and erotic repose. Though many themes traverse Garduño's body of work, all ultimately reach the point of incense where, uncertainly, nature, and art blend so that mankind may have a margin of whimsy, freedom, or significance on the face of the gods.Source: Peter Fetterman Gallery Flor Garduño (Born Mexico City, Mexico, 1957) studied at the Escuela Nacional de Artes Plásticas in Mexico City.  In 1979 she became an assistant to Manuel Alvarez Bravo. Between 1981 and 1982 she traveled with a team of photographers organized by Mariana Yampolsky. The team photographed rural villages throughout Mexico for reading primers published by the Secretariat of Education for Indigenous Communities.  This experience as well as her association with Kati Horn influenced Garduño's photographs, which are usually of country locales and towns depicted in strange and mysterious ways typical of Surrealism in Mexican photography.  Garduño had her first one-person exhibition in 1982 at the Galeria Jose Clemente Orozco in Mexico City.  In 1985, a compendium of six years of her work was published entitled "Magia del Juego Eterno" and in 1987 another book entitled "Bestiarium" was published.  In 1986 she participated in the first photographic exhibition of the Salón de la Plástica Mexicana and in the inauguration of the Kahlo-Coronel Gallery in Mexico City. In 1986 and 1988 she was included in several traveling exhibitions "Reserved for Export" and "Realidades Mágicas" that were seen in the United States and Europe.  1996 Image and Memory, Latin american Photography, 1880-1992  Itinerary: El Museo del Barrio, New York.  Art Gallery of the University of Scranton, PA.  Lowe Art Museum, Florida.  Museo de Arte de Ponce, Puerto Rico.  Crocker Art Museum, CA.  Meadows Museum, Tx.  Akron Art Museum, OH. Her one-person shows were in Paris in 1986, the Museum Volkenkunde de Rotterdam in 1989, the Field Museum of Chicago in 1990 and Montreal in 1991.  Since 1989 she has dedicated herself to photographing the images that appear in her one-person exhibition and monograph, "Witnesses of Time".  The exhibition started at the Americas Society in 1993 and will be traveling across the country to the Museum of Photographic Arts in California as well as various other venues.  Her work is in the collections of the Museum of Modern Art, New York; Bibliotheque Nationale, Paris; and Centro Cultural de Arte Contemporáneo, Mexico.Source: Throckmorton Fine Art Galleries in the USA:   Peter Fetterman Gallery   Throckmorton Fine Art   Fahey/Klein Gallery   Holden Luntz Gallery   Etherton Gallery   Andrew Smith Gallery
Marc Gordon
United States
Marc Gordon is a photographer who focuses on unposed portraiture and photo documentary. He was trained at the International Center for Photography in New York City and studied street photography with Harvey Stein. He spent several years doing advertising photography at Kripalu, a yoga retreat center in the Berkshires, starting in 2009. Afterwards he turned to documentary and portraiture. All of his photographs try to capture unposed expressive moments, and to show people as they are without interpretation. A documentary series on the Gay Pride Parades in New York City has appeared in L'Oeil de la Photographie and was featured on the Social Documentary Network in late 2020. In addition to documentary and portraiture, Marc also explores landscape photography. As in portraiture, he tries to avoid interpretation and seeks instead to reveal Nature's complex patterns. He currently lives in New Mexico and will exhibit a series of landscapes at the Abiquiu Inn as soon as it is safe again to gather indoors. Marc was trained as a research mathematician and worked for many years on quantitative trading strategies before becoming a photographer. Joy and Confrontation These photos attempt to capture the spirit of the Gay Pride parades in New York City in the years since gay marriage was legalized in the United States. The collection begins with portraits of people encountered in the streets around the parades. Their joyful celebration is challenged by Christian demonstrators carrying offensive and provocative signs who came to condemn homosexuality and warn of divine retribution. Reactions range from mockery to dancing, heated argument, lewd gestures, outrage, and anger. I am grateful to have spent time with these young gay people and to have had the chance to photograph them. For any questions, you can contact Marc Gordon at marcgor@msn.com.
Nadav Kander
Israel
1961
Nadav Kander is a London based photographer, artist and director, internationally renowned for his portraiture and landscapes. His work forms part of the public collection at the National Portrait Gallery and the Victoria and Albert Museum in London. Kander's work is also exhibited in numerous international galleries and museums. Kander was born in tel Aviv, tal aviv. His father flew Boeing 707s for El-Al but when he lost his eye for medical reasons he was unable to carry on flying. His parents decided to start again in South Africa and moved to Johannesburg in 1963. Kander began taking pictures when he was 13 on a Pentax camera and later when drafted into the South African Air Force, worked in a darkroom printing aerial photographs. He moved to London in 1986, where he still resides with his wife Nicole and their three children. Kander's most celebrated images include Diver, Salt Lake, Utah 1997, in which a lone women peers out into the vast lake, and his 2009 portrait of Barack Obama photographed for The New York Times Magazine as a cover feature. Diver, Salt Lake, Utah, 1997 was also the cover image for Kander's Monograph Beauty's Nothing. On 18 January 2009, Nadav Kander had 52 full-page colour portraits published in one issue of The New York Times Magazine. These portraits (from a series titled Obama's People) were of the people surrounding President Barack Obama, from Joe Biden (Vice President) to Eugene Kang (Special Assistant to The President). The same issue also included a series of cityscapes of Washington DC also taken by Kander. This is the largest portfolio of work by the same photographer The New York Times Magazine has ever showcased in one single issue. Source: Wikipedia Nadav Kander lives and works in London. Selected past projects include Yangtze – The Long River, winner of the Prix Pictet award in 2009; Dust, which explored the vestiges of the Cold War through the radioactive ruins of secret cities on the border between Kazakhstan and Russia; Bodies 6 Women, 1 Man; and Obama’s People, an acclaimed 52 portrait series commissioned by the New York Times Magazine. His ongoing series, Dark Line - The Thames Estuary, is a personal reflection on the landscape of the River Thames at its point of connection with the sea, through atmospheric images of its slow-moving dark waters and seemingly infinite horizons. Kander’s work is housed in several public collections including National Portrait Gallery, London, UK; Museum of Contemporary Photography, Chicago, USA; Marta Herford Museum, Germany; Sheldon Museum, Lincoln, USA; The Frank-Suss Collection, London, New York and Hong Kong; and Statoil Collection, Norway. He has exhibited internationally at venues including Weserburg Museum, Germany; Musée de L’Elysée, Lausanne, Switzerland; Museum of Photographic Arts, San Diego, USA; Museum of Applied Arts, Cologne, Germany; The Barbican Centre, London, UK; The Photographers’ Gallery, London, UK; Somerset House, London, UK; Palais de Tokyo, Paris, France; and Herzliya Museum of Contemporary Art, Israel. Recent fellowships and awards include an Honorary Fellowship Award from the Royal Photographic society. Source: Flowers Gallery "I hated school with dedication. A shame, but true. I wasn’t hugging and saying tearful goodbyes on the final day. I just left and I have never returned. Having a very bad accident on my motorbike that I had had since I was 15 (a Triumph 650 Tiger), was a hinge event. Prior to this I had been a practising hard man and going nowhere. Working on the machines during the day and riding in groups at night was my life. After the accident when I was 17, I never rode again and my focus shifted back to photography. South Africa forced its white male citizens to partake in National Service, and I somehow ensured I was drafted into the Air force and then into a darkroom where I printed aerial pictures for two years. It was here that I became certain I wanted to become a lens based artist. A Photographer back then. I met Nicole Verity at about this time. The day after I cleared out of the Air force I started working for Harry De Zitter, and a few months later, soon after my 21st birthday, I left for England. At the end of 1985 I was back in South Africa and met up with Nicole again. She joined me in England in 1986. We squatted in a block of flats two streets away from where we later bought a house. We married in the wilds of Africa in 1991." -- Nadav KanderSource: www.nadavkander.com
Mitch Dobrowner
United States
Devanshu Jha
India
2006
Devanshu Jha is an 18-year-old photographer based in Mumbai, India. He is currently pursuing a Bachelor’s in Engineering Physics at the Indian Institute of Technology Bombay while primarily focusing on street photography. His journey with photography began at the young age of 11, capturing some flowers on his parent's mobile phones. Over the years, Devanshu refined his craft, documenting the streets of India with a distinctive blend of visual storytelling and compositional aesthetics. With a keen eye for composition and lighting, his work goes beyond mere documentation, weaving entire narratives within a single frame. His images reflect the rich social fabric of India, capturing its immense diversity with an artistic and cinematic approach. Beyond photography, Devanshu has a diverse background in visual arts and storytelling, having studied both cinema and photographic theory extensively before gaining access to professional tools. This analytical approach has helped him craft images that not only capture reality but also shape it, finding beauty in fleeting moments and coincidences that often go unnoticed." Statement "Before university, I learned photography purely from a theoretical perspective—I didn’t have the tools or the freedom to practice it. Instead, I studied photographs, analyzed cinema, and tried to understand the essence of what makes an image truly powerful. When I finally got my hands on an old DSLR from a friend, I never looked back. Since that day, I’ve spent countless mornings waking up at 4 AM, wandering the streets of Mumbai, documenting the endless stories unfolding around me. Photography has become an adventure—sometimes, I am just an observer, and at other times, I become part of the story itself, capturing the small coincidences that make everyday life extraordinary." Awarded Photographer of the Week - Week 07
Roger Fenton
United Kingdom
1819 | † 1869
Roger Fenton was a British photographer, noted as one of the first war photographers. He was born into a Lancashire merchant family. After graduating from London with an Arts degree, Fenton became interested in painting and later developed a keen interest in the new technology of photography after seeing early examples at The Great Exhibition in 1851. Within a year, he began exhibiting his own photographs. He became a leading British photographer and instrumental in founding the Photographic Society (later the Royal Photographic Society). It is likely that in autumn 1854, as the Crimean War grabbed the attention of the British public, that some powerful friends and patrons – among them Prince Albert and Duke of Newcastle, Secretary of State for War – urged Roger Fenton to go to the Crimea to record the happenings. The London print publisher Thomas Agnew & Sons became his commercial sponsor. The resulting photographs may have been intended to offset the general unpopularity of the war among the British people, and to counteract the occasionally critical reporting of correspondent William Howard Russell of The Times; the photographs were to be converted into woodblocks and published in the less critical Illustrated London News. He set off aboard HMS Hecla in February, landed at Balaklava on 8 March and remained there until 22 June. Fenton took Marcus Sparling as his photographic assistant, a servant known as William and a large horse-drawn van of equipment. Due to the size and cumbersome nature of his photographic equipment, Fenton was limited in his choice of motifs. Because the photographic material of his time needed long exposures, he was only able to produce pictures of stationary objects, mostly posed pictures; he avoided making pictures of dead, injured or mutilated soldiers. But he also photographed the landscape, including an area near to where the Charge of the Light Brigade – made famous in Tennyson's poem – took place. In letters home soldiers had called the original valley "The Valley of Death", and Tennyson's poem used the same phrase, so when in September 1855 Thomas Agnew put the picture on show, as one of a series of eleven collectively titled Panorama of the Plateau of Sebastopol in Eleven Parts in a London exhibition, he took the troops'—and Tennyson's—epithet, expanded it as The Valley of the Shadow of Death with its deliberate evocation of Psalm 23, and assigned it to the piece; it is not the location of the famous charge, which took place in a long, broad valley several miles to the south-east. Despite summer high temperatures, breaking several ribs in a fall, suffering from cholera and also becoming depressed at the carnage he witnessed at Sevastopol, in all Fenton managed to make over 350 usable large format negatives. An exhibition of 312 prints was soon on show in London and at various places across the nation in the months that followed. Fenton also showed them to Queen Victoria and Prince Albert and also to Emperor Napoleon III in Paris. Nevertheless, sales were not as good as expected. Despite the lack of commercial success for his Crimean photographs, Fenton later travelled widely over Britain to record landscapes and still life images. However, as time moved on, photography became more accessible to the general public. Many people sought to profit from selling quick portraits to common people. It is likely that Fenton, from a wealthy background, disdained 'trade' photographers, but nevertheless still wanted to profit from the art by taking exclusive images and selling them at good prices. He thus fell into conflict with many of his peers who genuinely needed to make money from photography and were willing to 'cheapen their art' (as Fenton saw it), and also with the Photographic Society, who believed that no photographer should soil himself with the 'sin' of exploiting his talent commercially in any manner. Amongst Fenton's photographs from this period are the City of Westminster, including The Palace of Westminster nearing completion in 1857 – almost certainly the earliest images of the building, and the only photographs showing the incomplete Clock Tower. In 1858 Fenton made studio genre studies based on romantically imaginative ideas of Muslim life, such as Seated Odalisque, using friends and models who were not always convincing in their roles. Although well known for his Crimean War photography, his photographic career lasted little more than a decade, and in 1862 he abandoned the profession entirely, selling his equipment and returned to the law as a barrister. Although becoming almost forgotten by the time of his death seven years later he was later formally recognized by art historians for his pioneering work and artistic endeavour. In 1862 the organizing committee for the International Exhibition in London announced its plans to place photography, not with the other fine arts as had been done in the Manchester Art Treasures Exhibition only five years earlier, but in the section reserved for machinery, tools and instruments – photography was considered a craft, for tradesmen. For Fenton and many of his colleagues, this was conclusive proof of photography's diminished status, and the pioneers drifted away. He died 8 August 1869 at his home in Potters Bar, Middlesex after a week-long illness – he was 50 years old. His wife died in 1886. Their graves were destroyed in 1969 when the Potters Bar church where they were buried was deconsecrated and demolished.Source: Wikipedia Roger Fenton is a towering figure in the history of photography, the most celebrated and influential photographer in England during the medium’s “golden age” of the 1850s. Before taking up the camera, he studied law in London and painting in Paris. He traveled to Russia in 1852 and photographed the landmarks of Kiev and Moscow; founded the Photographic Society (later designated the Royal Photographic Society) in 1853; was appointed the first official photographer of the British Museum in 1854; achieved widespread recognition for his photographs of the Crimean War in 1855; and excelled throughout the decade as a photographer in all the medium’s genres—architecture, landscape, portraiture, still life, reportage, and tableau vivant. Fenton’s most widespread acclaim came in 1855, with photographs of the Crimean War, a conflict in which British, French, Sardinian, and Turkish troops battled Russia’s attempt to expand its influence into European territory of the Ottoman empire. Fenton was commissioned by the Manchester publisher Thomas Agnew & Sons to travel to the Crimea and document the war, and his mission was encouraged by the government, which hoped that his photographs would reassure a worried public. Fenton’s extensive documentation of the war—the first such use of photography—included pictures of the port of Balaklava, the camps, the terrain of battle, and portraits of officers, soldiers, and support staff of the various allied armies. Perhaps inspired by the experience of traveling through Constantinople en route to Balaklava, or perhaps simply sharing the mid-nineteenth-century vogue for all things exotic, Fenton produced a theatrical suite of Orientalist compositions during the summer of 1858—costume pieces that strove for high art rather than documentation and that were, in a sense, an antidote to the harsh realities he had recorded in the Crimea. They owed as much to the paintings of Delacroix and Ingres as to Fenton’s own experience in the East. In 1862, after a final series of photographs—a remarkable group of lush still lifes—Fenton sold his equipment and negatives, resigned from the Royal Photographic Society, and returned to the bar. In the course of a single decade, Fenton had played a pivotal role—by advocacy and example—in demonstrating that photography could rival drawing and painting not only as a means of conveying information, but also as a medium of visual delight and powerful expression.Source: Metropolitan Museum of Art
J.M. Golding
United States
J. M. Golding is a photographic artist based in the San Francisco Bay area. She chooses plastic, pinhole, and vintage film cameras as her primary tools: plastic cameras such as the Holga for the spontaneity they promote and their capacity to help create dreamlike images, pinhole cameras for their simplicity and their contemplative quality, and vintage film cameras for the subjectivity of the images that are possible. J. M.'s photographs have been shown internationally in numerous juried and invitational group exhibitions, and she is the recipient of the 2013 Holga Inspire Award, the Lúz Gallery Curator's Choice Award (2009), Best of Show in Wanderlust (Dickerman Prints, 2017, in collaboration with Al Brydon), and several Honorable Mentions in other juried exhibitions. Her work has also appeared in Black & White, Diffusion, Shots, F-Stop, Square, and Insight magazines, Inside the Outside, Don't Take Pictures, The Holga Darkroom, and The Shot and in two books of pinhole photographs. She has been profiled in LensCulture, F-Stop Magazine, Wobneb Magazine, Mother F-Stop, Toycamera.es, and Pinholista. About Transitional Landscapes These photographs contain transitions from outer landscape to inner, from objective landscape to subjective. Square frames of film that are typically separate join together to form new, integrated images that would not have been possible otherwise, wholes that are greater than the sum of their parts, landscapes that are simultaneously real and imaginary. In this way, and also by transcending the literal separation of the component scenes, they allude to psychoanalyst D. W. Winnicott's concept of the transitional object. The photographs embody the eye's transitions across the scene, moving incrementally from one perspective to another as they take on and combine multiple points of view. Because the overlapping exposures used to create the images are made sequentially, as compared to the single moment typically seen in photographs, the series of exposures in each image portrays transitions in time from one moment to the next, creating a connection between past and present, and possibly, present and future. Although the time and distance traversed are in many ways small, the transitions across them create surprising changes in what is visible.
Andrea Reese
United States
Andrea Star Reese is a photojournalist/documentary photographer based in New York currently working in Indonesia.In 2013, Disorder, a documentary reportage on conditions faced by Indonesians suffering from mental illness and undiagnosed mental disorders was exhibited at Visa Pour L’Image Perpignan, and Angkor Photo Festival., Published on Lightbox.time.com. the essay followed men and women in homes, shelters, schools and hospitals.Previously, Urban Cave, a three-year project on long term unsheltered men and women living in makeshift housing in New York City was exhibited at Visa Pour L’Image 2010. Urban Cave received Best Social Documentary from The New York Photo Festival, was a finalist for POYI: World Understanding, a FotoEvidence book award finalist, and a 2010 Visa d’Or, Feature nominee. Most recently Urban Cave was exhibited at Theory of the Clouds Gallery, Kobe, Japan and at the 2013 Athens Photo Festival. Urban Cave has been published internationally. An ongoing update in preperation for a book is in progress.Ms. Reese first worked in Indonesia directing a feature documentary film made up of short stories collected during the 2003-2004 run up to the country’s first direct democratic presidential election. The film covered issues pertinent to the time. On staff at the International Center of Photography School, and a tutor at the 2013 Angkor Photo Festival Workshop, Andrea Star Reese is a 2010 fellow in Photography from the New York Foundation for the Arts and a reGeneration2 photographer.Grants/Awards2013 Finalist Fotoevidence Book Award2012 American Photography 28: Best pictures from 2011_ (Chasing Stigma, working title, work in progress)2011 Honorable Mention International Photo Awards_(Chasing Stigma,working title, as work in progress)2011 Honorable Mention International Photography Award_Merapi’s Breath2011 Finalist Picture of the Year World Understanding Urban Cave 2011 Included as part of AnthropoGraphia2010 New York Foundation for the Arts Fellowship in Photography2010 2nd place fotovisura award2010 Nominated Visa d’or Feature2010 Invited reGeneration2: Tomorrows Photographers Today2009 3 Hon. Mentions International Photo Awards Editorial/Other, Editorial/Essay Deeper Perspective2009 Finalist Magnum Expressions Award2009 Best Social Documentary New York Photo Awards2009 Honorable Mention Camera Club New York2008 Les Visas de L’ANI
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Latest Interviews

Exclusive Interview with Ghawam Kouchaki
American photographer Ghawam Kouchaki brings a sharply observant and introspective gaze to the streets of Japan’s capital. Based in Los Angeles, he approaches Tokyo with the distance — and curiosity — of an outsider, allowing him to uncover the city’s subtle contradictions, quiet tensions, and fleeting gestures that often go unnoticed. His series Tokyo no no, selected as the Solo Exhibition for December 2024, explores the hidden undercurrents of urban life: the unspoken rules, the small ruptures in routine, the poetic strangeness found in everyday moments. Through muted tones, instinctive timing, and meticulous framing, Kouchaki reveals a Tokyo that exists somewhere between reality and imagination — both intimate and enigmatic. We asked him a few questions about his life and work.
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Sander Vos is a fine art photographer based in London whose work seamlessly blends elements of Surrealism with portraiture. Drawing inspiration from his background in design, Vos embraces light and contrast to sculpt striking, graphic compositions. His photographs invite the viewer into a world where revelation and concealment coexist, leaving space for imagination and interpretation.
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Founded in 2020 by photographer, publisher, and classical pianist Tomasz Trzebiatowski, FRAMES Magazine has quickly established itself as a thoughtful space for photography lovers who believe that powerful images deserve to live on paper. Known for its beautifully printed quarterly issues and dynamic international community, FRAMES bridges the gap between tradition and innovation in the photographic world. As editor-in-chief, Trzebiatowski has created not only a publication but a platform that celebrates diverse genres, nurtures dialogue, and champions the tactile experience of print in a digital age. In this interview, he reflects on the journey from founding FRAMES to building a global membership, the challenges of independent publishing, and the future of photography in both print and digital forms.
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French photographer Manuel Besse is known for his compelling black-and-white imagery, which blends portraiture, documentary, and poetic narrative into a singular visual voice. With a career spanning several decades and continents—from the gold mines of Serra Pelada to the Arctic Circle—his work reflects a deep commitment to authenticity, human connection, and the preservation of cultural and natural landscapes. His series Macadam, winner of AAP Magazine #41 B&W, offers a contemplative look at fleeting urban encounters, rendered in his signature monochrome style. We asked him a few questions about his life and work.
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UK-born photographer Matthew Portch brings a quietly cinematic eye to the overlooked landscapes of suburban and rural America. Now based in Arizona, his photographic journey reflects a long-standing fascination with the cultural imprint of mid-century America—filtered through a distinctly outsider’s perspective. His series Lost America, selected for the September 2024 Solo Exhibition, captures an eerie stillness in the built environments of the American West, where nostalgia, silence, and isolation converge.
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