All about photo.com: photo contests, photography exhibitions, galleries, photographers, books, schools and venues.
FINAL CALL TO ENTER AAP MAGAZINE SHAPES: PUBLICATION AND $1,000 CASH PRIZES
FINAL CALL TO ENTER AAP MAGAZINE SHAPES: PUBLICATION AND $1,000 CASH PRIZES
  1. Home
  2. All Photographers
  3. Modern Photographers
  4. Graeme Purdy
Graeme Purdy
Graeme Purdy
Graeme Purdy

Graeme Purdy

Country: Northern Ireland
Birth: 1971

Born and raised in Northern Ireland and now based in London, England. I've always loved the outdoors. Hiking, camping and being in nature have always been at the heart of fond memories and friendships.

Statement
For me, great images are always driven by going the extra mile. Looking at the world from a different perspective, following the beat of my own drum. Increasingly, I've fallen in love with Black & White photography, it has become a very big part of how I shoot, where I shoot and when I shoot. It has provided the creative dimension I needed. My ambition is to find fresh images. I embrace and relish the challenge of doing things differently and creating genuinely unique content. This has real-life consequences, but I am highly driven to make new and distinctive images. I am prepared to forfeit 500 good images for one that is great - and I often forfeit 500 good images for no results at all.

Gallery

Woolff Gallery

Websites

purdy.photography

@graemepurdy

 

Inspiring Portfolios

Aleksander Rodchenko
© Aleksander Rodchenko
Fabien Dendiével
© Fabien Dendiével
Umberto Verdoliva
© Umberto Verdoliva
Call for Entries
AAP Magazine #59 Shapes
Publish your work in our printed magazine and win $1,000 cash prizes
© Barbara Hazen
 
Stay up-to-date  with call for entries, deadlines and other news about exhibitions, galleries, publications, & special events.

More Great Photographers To Discover

Annette LeMay Burke
Annette LeMay Burke
United States
1964
Annette LeMay Burke (b. 1964) is a photographic artist and Northern California native who lives in the heart of Silicon Valley. Numerous family road trips throughout California and the West honed her eye for observing the landscape. By eight years old, she had her own Instamatic camera and graduated to a Minolta X-700 as a teen. While earning a BA in Earth Science from the University of California at Berkeley, she took her first darkroom class. After a career in high-tech, and studying design, Annette has now merged her interests. Her artistic practice focuses on how we interact with the natural world and the landscapes constructed by the artifacts of technology. Annette's first book, Fauxliage (Daylight Books, Spring 2021), documents the proliferation of disguised cell phone towers in the American West and how new technologies are modifying our landscapes with idiosyncratic results. Her work has been exhibited at institutions such as Center for Photographic Arts, Colorado Photographic Arts Center, Griffin Museum of Photography, Texas Photographic Society, The Center for Fine Art Photography, and Photographic Center Northwest. In 2017, she was a finalist for Photolucida's Critical Mass. Fauxliage - Disguised Cell Phone Towers of the American West Fauxliage documents the proliferation of disguised cell phone towers in the American West. For me, the fake foliage of the trees draws more attention than camouflage. The often-farcical tower disguises belie the equipment's covert ability to collect all the phone calls and digital information passing through them, to be bought and sold by advertisers and stored by the NSA. From the very start, cell towers were considered eyesores. Plastic leaves were attached in an attempt to hide the visual pollution. Over time, the disguises have evolved from primitive palms and evergreens into more elaborate costumes. The towers now masquerade as flagpoles, crosses, water towers, and cacti. Over time, as our demand for five bars of connectivity has increased, the charade has remained. I was initially drawn to the towers' whimsical appearances. The more I photographed, the more disconcerted I felt that technology was clandestinely modifying our environment. I explore how this manufactured nature is imposing a contrived aesthetic in our neighborhoods. My photographs expose the towers' idiosyncratic disguises, highlight the variety of forms, and show how ubiquitous they are in our daily lives. Their appearance is now an inescapable part of the iconic western road trip and the eight states I visited for this project. As the fifth generation (5G) of cellular technology continues to roll out, the cell tower terrain will be changing. 5G utilizes smaller equipment that is easier to hide - think fat streetlight poles. Perhaps elaborately disguised 'fauxliage' towers will begin disappearing and be considered an anachronism of the early 21st century. The decorated towers could join drive-up photo kiosks, phone booths, news stands, and drive-in movie theaters as architectural relics of the past. More about Fauxliage More about Memory Building
Alicia Savage
Alicia Savage
United States
Alicia Savage is a self-portrait photographer based in Boston, Massachusetts. Her fine art photography is very much a documentation of her life and mind as a 29-year-old woman exploring life; inspired by her surroundings and recent travels. "Photography has opened my mind and heart to understand myself and the world beyond what is assumed; to always be inspired by my curiosity and imagination of what is and could be."
Bert Hardy
Bert Hardy
United Kingdom
1913 | † 1995
Bert Hardy was a renowned British photographer known for his powerful and evocative images that captured the essence of postwar Britain. Hardy, born on May 19, 1913, in Blackheath, London, developed an early interest in photography. He began his career as a photojournalist in the 1930s, working for magazines such as Picture Post and Illustrated. During WWII, Hardy worked as an official photographer for the Royal Air Force (RAF), documenting the lives of servicemen and the effects of war. His photographs captured the raw emotions and hardships endured by soldiers, providing a poignant and honest portrayal of the war. I made a point of carrying a contact print of one of the most horrifying of my photographs around with me to show to Germans who didn’t believe that such things had really happened. -- Bert Hardy Hardy continued to work as a photojournalist after the war, covering a wide range of subjects. He rose to prominence as a contributor to Picture Post, a seminal magazine known for its social documentary photography. Hardy's photographs frequently depicted working-class people's lives, providing a compassionate and empathetic perspective on their struggles and aspirations. Hardy's photography was distinguished by his ability to capture fleeting moments of daily life with authenticity and sensitivity. His photographs frequently depicted ordinary people going about their daily lives, but with a profound depth and storytelling quality. Hardy's photographs struck a chord with viewers, providing a rare glimpse into the social, cultural, and political landscape of postwar Britain. Throughout his career, Hardy received numerous accolades and awards for his outstanding contributions to photography. His work has been exhibited internationally and is part of several esteemed collections. Hardy's photographs continue to inspire and influence photographers and artists today, leaving behind a lasting legacy in the world of documentary photography. Bert Hardy passed away on July 3, 1995, but his images remain a testament to his extraordinary talent and his enduring impact on the field of photography.
Wayne Swanson
Wayne Swanson
United States
1951 | † 2024
Wayne Swanson is a fine art photographer living in San Diego. Born and raised in Chicago, he still clings to his Midwestern sensibility. He is a graduate of the Medill School of Journalism at Northwestern University. His career has included writing and photography for newspapers, magazines, book publishers, and corporate clients. He is a member of the Snow Creek Collaborative, a critique group of award-winning Southern California fine art photographers. His fine art photography has been included in juried exhibitions in Los Angeles, San Diego, New York, Boston, Houston, Fort Collins, and more. He has been featured in publications including Shots Magazine, The Hand Magazine, Lenscratch, Rfotofolio, Aint-Bad, and Float. As a writer, he is a contributing editor for PhotoBook Journal. Statement "We take for granted so much of what we see around us. I like to look at the familiar with fresh eyes, searching for the wonder in the ordinary. Then I find a means of presentation that suits my subject. That could mean single images, composites, grids, or 3-dimensional objects. The output could be digital prints, Polaroids, or image transfers. My interests range from shapes and forms, architecture, and landscapes to the highly personal. I’m drawn to imagery related to time, memory, atmosphere, a sense of place, and a subtle sense of humor." -- Wayne Swanson
Erich Hartmann
Erich Hartmann
Germany / United States
1922 | † 1999
Erich Hartmann was a German-born American photographer. Hartmann was born July 29, 1922 in Munich, Germany, the eldest child of Max and Irma Hartmann who lived in Passau, a small city on the Danube near the Austrian border in which they were one of a five Jewish families. Erich Hartmann's family belonged to the middle class, and his father, a social-democrat who served during World War I and been imprisoned by the British, was highly respected. In 1930, only eight years old, Erich took his first photographs. Life became increasingly difficult after the Nazi takeover in 1933, including personal, financial, business, and family restrictions and the beginning of deportations of Jews to the first so-called 'labor camp' in the village of Dachau. The Hartmann family moved to Munich that year, in search of a more tolerant and cosmopolitan environment. The situation only worsened, however, and the family determined that they had to leave Germany. In August 1938, they accepted the opportunity to emigrate to the United States, having received the necessary affidavit of support from distant relatives there. They sailed from Hamburg to New York, staying initially in Washington Heights, before settling outside Albany, New York. The only English speaker in the family, Erich Hartmann worked in a textile mill in Albany, New York, attending evening high school and later taking night courses at Siena College. On December 8, 1941, the day after the attack on Pearl Harbor, the US entered the war, and Erich enlisted in the US Army. Trained in Virginia and at Ohio State University, he had to wait until 1943 before serving in England, Belgium (Battle of the Bulge) and France, and with the liberating forces as a court interpreter at Nazi trials in Cologne, Germany. At the end of the war he moved to New York City where, in 1946, he married Ruth Bains; they had two children, Nicholas (born in 1952) and Celia (born in 1956). During these years, he worked as an assistant to portrait photographer George Feyer, and then as a freelancer. He studied at the New School for Social Research with Charles Leirens, Berenice Abbott, and Alexey Brodovitch. His portrait subjects over the years included architect Walter Gropius, writers Arthur Koestler and Rachel Carson, musicians Leonard Bernstein and Gidon Kremer, actor Marcel Marceau, fellow photographer Ed Feingersh, and many other literary and musical personalities. Music played a great role in his life and work: "Music captured me before photography did," he recalled. "In my parents' house there was not much music except for a hand-cranked gramophone on which I surreptitiously and repeatedly played a record of arias from Carmen. This was before I could read!″ In the 1950s Erich Hartmann first became known to the wider public for his poetic approach to science, industry and architecture in a series of photo essays for Fortune magazine, beginning with The Deep North, The Building of Saint Lawrence Seaway and Shapes of Sound. He later did similar essays on the poetics of science and technology for French, German and American Geo and other magazines. Throughout his life he traveled widely on assignments for the major magazines of the US, Europe and Japan and for many corporations such as AT&T, Boeing, Bowater, Citroën, Citibank, Corning Glass, DuPont, European Space Agency, Ford, IBM, Johns Hopkins University, Kimberly-Clark, Pillsbury Company, Nippon Airways, Schlumberger, TWA, and Woolworth, for all of which he used color. In 1952 he was invited to join Magnum Photos, the international photographers’ cooperative founded in 1947 by Robert Capa, David Seymour, George Rodger and Henri Cartier-Bresson, he served on the board of directors from 1967 to 1986, and as President in 1985–1986. For more than eight weeks in 1994, Erich and Ruth Hartmann undertook a winter journey to photograph the remains of the Nazi concentration and extermination camps, and places of deportation, throughout Europe. He was determined to take only black and white photographs and to capture only what he saw, immediately when arriving, no matter whether days looked like nights. He returned to New York with 120 rolls of film, from which he made a first edit of 300 photographs and a final selection of only 74 frames. These, together with text by Ruth Bains Hartmann, formed the book and exhibition In the Camps, published in 1995 in English, French, and German and exhibited in more than twenty venues in the US and Europe in the years since. In all of his travel, for work and pleasure, Hartmann carried a small camera with a few rolls of black and white film, prepared for every visual opportunity. He also deliberately pursued a series of imaginative projects including experiments with ink in water, stroboscopic light effects, beach pebbles constrained in boxes, and others. In the late 1990s, with an eye to a future retrospective exhibition, Hartmann began making a definitive selection from fifty years of this personal work in black and white. Just a few months before his death he began discussions with a gallery in Austria about organizing an exhibition called Where I Was. On February 4, 1999 Erich Hartmann died unexpectedly from a heart attack in New York. Source: Wikipedia In the late 1960s and 1970s he lived in London. He documented the construction of the Britannia aircraft for the Bristol Aeroplane Company and he photographed for the leading colour magazines: the Sunday Times, the Observer and the Telegraph, notably on such stories as Shakespeare's Warwickshire and The Norman Conquest Descendants. For the Weekend Telegraph he made sensitive colour pictures of Styles of English Architecture, in a series of photo-essays for which Sir John Betjeman wrote the words, and he also travelled with Betjeman to the Faeroe Islands. Later Hartmann returned to Germany where he had lived in the shadow of the Nazis until he was 16, and chose a project for himself: the death camps. He made an unforgettable book, In the Camps (1995). He said, "I simply felt obliged to stand in as many of the camps as I could reach, to fulfill a duty that I could not define and to pay a belated tribute with the tools of my profession." The book is a magnificent tribute. There is hardly a person in it. So solitary is it, so desolate, that we people the pages with our own ghosts, we bring to it our own fears and imagery. These imaginings have the feeling of poetry. We see a room full of broken shoes; another room of battered satchels; another of torn children's clothes; the windowless barracks in four tiers in which multitudes tried to survive; or a square in which a gallows hangs in the wind. The railway tracks which many took into the camp; a single gas chamber in Auschwitz. It is hard to go from examining the book to describe all Erich Hartmann did for the Magnum co-operative when he served on the board or was vice-president (1975 and 1979) or president (1985). Burt Glinn describes how he and Hartmann came to Magnum at the same time, almost 47 years ago: "We have photographed together and met together and consulted together about ethics and journalism, and we have attended 46 Magnum General Meetings, the first with only eight other photographers and the last with more than 50, but all of them passionate, contentious and personal." He goes on: "Through all these years Erich, more than anyone else, has been my moral compass. No matter how knotty the problem he never settled for the facile compromise. He was always wise, judicious, and ferocious to find the right answer rather than the easy one. When I suspected that I was pursuing my self-interest rather than the common good I would glance over at Erich and if I encountered his quizzically cocked eyebrow I would shut up."Source: Independent
Yuko Kamada
Yuko Kamada
Japan
1985
I was born in Fukushima, Japan in 1985. When I was 20 years old, until then, I had nothing ever touched a camera, and had never been particularly interested in the photography. However, when my mother passed away, I was looking for a way to fill the void of my grief. Then, by chance, I found a street photo book in a small bookstore. After, I became fascinated with the street photography and started as a self-taught. The subjects that interest me the most are the street. An old building nestled among the buildings, a quiet corner of an alleyway, the expressions of people, capturing with own subjectivity the stories hidden in those has been a form of expression for me.
Julia Nathanson
Julia Nathanson
Canada
1974
Julia Nathanson earned a degree in psychology from McGill University in 1996. She then went on to develop her visual skills at the New York Film Academy. Later, she began to explore street and urban-style landscape photography. She has since been published in Hipstography, The App Whisperer, and National Geographic. Her awards include Hipstography’s Street Series of the Year, the Mobile Photo Grand Prize at PhotoIndependent and a special award by acclaimed photographer Ben Watts for her series "In the Lane." Her prints adorn the walls of several private collectors and have been exhibited throughout North America and Europe. When not shooting, she manages to feed and clothe her two girls (who also happen to be unpaid models.) Julia lives and works in Toronto. About my work: I am endlessly fascinated by nature’s will to persist. Brilliant flowers growing through cracked concrete, weedy vines creeping along rusty eaves. I am perpetually dazzled by the colours of the city. I marvel at how they contrast, or become chameleons by chance. It reminds me that poetry is everywhere, even if it’s inconspicuous. There is harmony in unexpected places, there is life that wants to live. Equally alluring is the magic of children in the summertime. That fleeting time evokes my own fractured and dreamy recollections of childhood. Regardless of the subject, I hope that my work elicits a memory, a hope, a reverie.
Janet Sternburg
Janet Sternburg
United States
1943
Janet Sternburg is a fine art photographer, a writer of literary books, a maker of theatre and films, and an educator. Since 1998 when she began taking photographs, her work has appeared in Aperture (2002), that same year on the cover of Art Journal, and in 2003 in The Utne Reader (“A New Lens,” 2003), in which she was selected as one of forty international artists and writers who “with depth, resonance, ideas and insights, challenge us to live more fully.” A monograph of her photographs, Overspilling World: The Photographs of Janet Sternburg, was published in 2016–17 by Distanz Verlag with a Foreword by Wim Wenders, in which he writes, “Photographers don’t have eyes in the back of their heads. Janet Sternburg does.” A second monograph followed in 2021, also from Distanz, I’ve Been Walking: Janet Sternburg Los Angeles Photographs, taken by Sternburg during the COVID-19 pandemic. Her photography has been exhibited in solo shows in New York, Los Angeles, Berlin, Milan, Munich, Mexico, and Korea, where she received a commission for a full-building installation at Seoul Institute of the Arts. In 2018, the USC Fisher Museum of the Arts presented her solo show LIMBUS. She pioneered in the use of disposable cameras to create images in which elements interpenetrate, a visual world without borders. Her literary books include the classic two volumes of The Writer on Her Work (W.W. Norton, 1981 and 1991), called “landmarks” and “groundbreaking” by Poets & Writers magazine; her papers for that book are now archived at the Harry Ransom Center, University of Texas. Other critically praised books followed, among them Phantom Limb (University of Nebraska American Lives Series, 2002) and White Matter (Hawthorne Books, 2016), both using a hybrid form of memoir and essay to probe family, neurology, and history, as well as a collection of poetry, Optic Nerve: Photopoems (Red Hen Press, 2005). Other creative work includes her film, El Teatro Campesino, a feature-length documentary on the Chicano theatre troupe (1969) selected for the New York Film Festival at Lincoln Center; her film Virginia Woolf: The Moment Whole (1971), broadcast on National Educational Television and winner of a Cine Golden Eagle, as well as her play, The Fifth String (2011–2014), about Arab and Jewish expulsions throughout history, produced in Berlin, New York, and Los Angeles. Sternburg lives in San Miguel de Allende, Mexico, and also has a residence in Downtown Los Angeles’ Little Tokyo. She has been the recipient of numerous grants, fellowships, and artist residencies, among them from the National Endowment for the Humanities and MacDowell. She has taught in the Graduate Media Program at The New School University and in the Critical Studies School at the California Institute of the Arts. In 2016, she was co-recipient of the REDCAT Award, given to “individuals who exemplify the creativity and talent that define and lead the evolution of contemporary culture.”
Kamil Vojnar
Kamil Vojnar
Czech Republic
1962
Kamil Vojnar was born in the former Czechoslovakia in 1962. He studied at the School of Graphic Arts in Prague and began his career as a Graphic Designer. He left the country illegally (still Communist at the time) and moved to Vienna, and then eventually became a US citizen and finished his studies at the Art Institute of Philadelphia. He continued his career in Graphic Design which later led to illustration and imagery based on photography, working mostly for book and music publishing houses in New York City. At the same time, he continued to make his own imagery. After meeting his partner and having children, going back and forth between France and New York, they finally settled in St. Remy de Provence in South France where Vojnar has concentrated on his own work since 2005. He opened up an Atelier in St. Remy and then one in Paris in 2009, both of which carry his own work.His work consists of images digitally layered from many different photographs and textures. They are mixed-media archival prints on fine art paper or mounted on canvas. Some of his images are layered pictures printed on semitransparent Thai paper. These unique photomontages are then varnished with oil and wax, and on occasion painted with oil paints. Kamil, as a painter, points out, “In a painting, you can paint anything you want. In the photographic [medium], it must, on some level, exist first. That tension between what exists and what is made up is what interests me.” Thus, his images are often subject to very different interpretations (Source: Verve Gallery) About ElsewhereWell, … why … why "e l s e w h e r e"…?Because, … not really here, because not there or … over there, because … somewhere else, … "e l s e w h e r e"!!!In thousand years old small town in south France, I have little studio, tiny Gallery, up on the main street.People from all around the world come to this town. They walk it's ancient streets. Some see my place, some walk in and look around.And they ask … why, … the sky outside is blue, … the buildings ochre yellow, the olive trees pale green, … why are those pictures musty, sepia, dark. Why is their soul heavy? What happened? What has happened to me!And I say … I don't know, … they come to me that way. They are not really from here, they are not so much from there. They arrive from ..."elsewhere". I am just a pair of hands making them happen.I didn't look for them, I didn't choose them. They came to me, … they choose me!Artist? No. … Common' I am no Artist! I just make those little pictures. Just because they happen to me.And because … I cannot do anything else. I cannot do anything else, at least, until every last of them is out, … done.Just a pair of hands I am. Always struggling to let the image out. Always behind in my ability to execute on the paper what pours from ..."elsewhere", via my mind, my heart.It feels like, … really I have no personal connection to those pictures. I am not guilty.Don't ask me what they are, … what they mean. I don't know.Like orphaned kids, I collect them, feed them to grow.They have to be done. They have to get out there.If not me, … then who?Some are easy. Impatiently they bursting out into the openOthers play hide and seek. They leave a hint, they take me all over wrong paths, all around. They let me sweat, they let me freeze. They drag me through dry, dusty deserts, soak me in deepest seas. My shirt is bloody. My face is wet. Sometimes … sometimes I cry. Pure impossibility overwhelms me. Impossibility to make them happen as they appear to me. In their translucent light, through the tears, I see them, … I almost see them.No, I am no Artist. I just … I am just trying to do, … what I … almost … see.Yes, it's true! … I am making one picture over and over again.The same sofa, the same dress, the same image of Jesus on the wall in the background, as I have had throughout my childhood.Wings? … Yes, sometimes, there are wings. But those who carry them, they are no angels.They just want to be free. Pair of wings is like a passport to get away. To get to … elsewhere.E l s e w h e r e, … they say, it's not the destination, it's the journey, that counts.Therefore my little pictures are the humble documentation of that journey.They are the journey!Journey to … e l s e w h e r e!
Advertisement
AAP Magazine #59 Shapes
Win a Solo Exhibition in Aug
AAP Magazine #59 Shapes

Latest Interviews

Exclusive Interview with Susan Anthony
Interview
Exclusive Interview with Susan Anthony
American photographer Susan Anthony brings a painter’s eye to documentary photography, creating nuanced portraits of people and places shaped by time, community, and tradition. Her work is rooted in observation, empathy, and a deep curiosity about the lives of others. Through long-term projects, she explores the relationship between individuals and the environments they inhabit, revealing the stories that connect people to a place and to one another.
Read the full interview
Exclusive Interview with Carole Mills Noronha
Interview
Exclusive Interview with Carole Mills Noronha
Carole Mills Noronha is an Australian photographer whose deeply personal work explores memory, family, loss, and the fragile nature of identity. Living with epilepsy and a lifelong sensitivity to light, she has developed a distinctive photographic language rooted in observation, empathy, and emotional connection. Her images are shaped by lived experience, revealing intimate stories with remarkable honesty and tenderness.
Read the full interview
Exclusive Interview with Trevor Cole: Pastoral Peoples and Practices
Interview
Exclusive Interview with Trevor Cole: Pastoral Peoples and Practices
For this interview, we wanted to focus specifically on The Face of the Mundari and the wider Pastoral Peoples and Practices series. We spoke with Trevor about his long-term work among the Mundari, what continues to draw him back to their cattle camps, and the experience of documenting a culture whose identity remains deeply connected to livestock, tradition, and the natural environment.
Read the full interview
Exclusive Interview with Frank Meo
Interview
Exclusive Interview with Frank Meo
In our latest exclusive feature for All About Photo, I speak with veteran photography representative Frank Meo about what it truly takes to build a sustainable creative career today. Frank brings decades of experience working with Fortune 500 companies, major agencies, and documentary photographers to the table. We dive into the critical business skills often left out of art school curriculums, the power of mentorship, and the inspiring evolution of PROJECTIONS—his international salon platform for visual storytellers. It’s an essential read for anyone navigating the commercial or editorial photography landscape today.
Read the full interview
Exclusive Interview with Carolyn Moore
Interview
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.
Read the full interview
Exclusive Interview with Luca Desienna and Laura Estelle Barmwoldt
Interview
Publication
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.
Read the full interview
Exclusive Interview with Matthew Finley
Interview
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
Read the full interview
Exclusive Interview with Jan Janssen
Interview
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.
Read the full interview
Exclusive Interview with Henk Kosche
Interview
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.
Read the full interview
Call for Entries
AAP Magazine #59 Shapes
Publish your work in our printed magazine and win $1,000 cash prizes
© Roland Blum
Explore All About Photo
All About Photo
About Us
Contact Us
Link Back
Press
Blog
Newsletter
Terms of Use
Privacy Policy
Competitions
All About Photo Competitions
Our Jurors
All Photo Contests
Open Photo Contests
Amateur Photo Contests
Professional Photo Contests
Portfolio Reviews
Photo Competition News
Artists
Photographers A-Z
Masters of Photography
Modern Photographers
Rising Photographers
Articles
Interviews
Inspirational
Photography Exhibitions
Photography Festivals
Photo Fairs
Photo Museums
Galleries & Centers
Photographer Monographs
Technique Books
History of Photography
Miscellaneous
Paper Magazines
Online Magazines
Resources
Schools and Classes
Photography Agencies
Equipment Rentals
Studio Rentals
Photo Labs
Camera Repairs
Framing Stores
Photo Tips & Tools
Photo Gear
© 2026 © All-About-Photo.com, All Rights Reserved  •  Photographs © the Respective Artists, All Rights Reserved.