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Reinout van den Bergh
Reinout van den Bergh
Reinout van den Bergh

Reinout van den Bergh

Country: The Netherlands
Birth: 1957

Reinout van den Bergh (Wageningen, the Netherlands, 1957) studied photography and audiovisual design at St. Joost School of Fine Art and Design in Breda, the Netherlands. Since 1982 he has been working from Breda as a photographer and audiovisual designer. In this capacity he has travelled throughout Europe, Africa, Asia, the Middle East, the USA and Latin America. He worked for various ethnographical museums and for Dutch development cooperation projects. His work has been exhibited in several museums in Eastern and Western Europe and Africa, and published in several books and other publications. The Miners from Beringen (2014) comprises a collection of photgraphs made in the Belgian mining community of Beringen during the 1980s. It was proclaimed as one of the best photobooks of the year by Dutch quality newspaper de Volkskrant. For the long-term project 'Factories' with fellow artist Huib Fens he visited industrial heritage everywhere in Europe. The 'Environment' project is a combination of visual art and photography, for which he cooperated with sculptor Gerhard Lentink, travelling in several European countries. As of 2006 Reinout van den Bergh has been curator of BredaPhoto. He also supervises students and graduates of its International Talent Program.

More about Eboundja
Selected Books on Available on Amazon
Eboundja
Eboundja
Reinout van den Bergh
Reinout van den Bergh: The Miners From Beringen
Reinout van den Bergh: The Miners From Beringen
Reinout van den Bergh

Websites

www.reinoutvandenbergh.nl

@reinout_van_den_bergh

 

Selected Books

Eboundja
Eboundja
Reinout van den Bergh
Reinout van den Bergh: The Miners From Beringen
Reinout van den Bergh: The Miners From Beringen
Reinout van den Bergh

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More Great Photographers To Discover

Piotr Zbierski
Piotr Zbierski
Poland
Piotr Zbierski studied photography at National Film School. Author of three individual exhibitions (White Elephants, Here, Love has to be reinvented), a participant in collective exhibitions and publications including Photokina and Lab East. He presented his works in many countries like Poland, Germany, Portugal, Russia, Slovakia. As well as magazines (Shots Magazine, Ninja Mag, Archivo Zine, Die Nacht, Gup Magazine). In 2012 he won the prestigious prize for young photographer Leica Oscar Barnack Newcomer Award. His work was nominated to Deutsche Börse Photography Prize and has been shortlisted in many other prizes (Les Nuits Photographiques 2012, Terry O’Neill Award) for his series Pass by me. His works has been shown at Rencontres Internationales de la Photographie in Arles 2012 and are in collection of Kiyosato Museum of Photographic Arts. He lives and works in Lodz. About Love has to be reinvented "The series 'Love has to be reinvented' began in 2012 and its starting point was not an image but my personal experience, which changed my view and redefined my opinion on many issues. At the same time, it is neither my diary nor any personal document; recently such a name is given to whatever cannot be named. Titles of my series are just mottos for my creative works at their particular stages. Words are created by letters in the alphabet, which is a matter of convention depending on the culture. I build my series out of emotions, which are a biological fact, they are unquestionable. The key objective I identify for myself is the availability of a feeling. I really want the person looking at my photographs to experience something more and not just say whether photographs are good or bad. Photography does not begin with an image, it does not end with an image, either; I put on authenticity, and not on originality. An image is a form of communication of a higher art form, which is life itself. I took the title from the French poet, Artur Rimbaud, who wrote these words and expressed criticism of France and times he lived in about a hundred years ago. I returned to these words because I think the world has not changed so much, and I criticize a contemporary world, which has gone in the wrong direction, in my opinion. And I do not mean people but structures built around the castle, which the book hero has never reached. A major objective of my work is to get through to the essence of human emotions, to their purest form with no additions, no gadgets. To show a man in the way he has been created, a man from a primeval village. In a contemporary world, such an image may be created using a certain type of imagination because we are very far away from such a status quo; therefore, my work is reality-based but it is not the reality itself. It is an attempt to invoke and depict certain human impulses with full acceptance of their inherent contradictions. Like love: it is as full of adoration as hatred; a day could not exist without a night. I will finish this three-year series in spring 2015 during the total solar eclipse, which can be observed in Iceland. It is a characteristic clamp for my creative work in which I start from a personal, private and single experience at the very beginning, and come through an image to a part, which is common for us all, and independent of me. A macro-scale has its reflection in a micro scale while a normal scale, in which we live in, is its pulsating reflection. To follow theories of contemporary scientists, only a ballet dancer may be smaller, and on a macro-scale - a multiple universe. Life is a film directed by the universe while the world is the largest accumulation of sensually available metaphors, a secret in secret or a metaphor in a metaphor. Rimbaud has also written that eternity is skies mixed with water; quite right: black and white, grey on grey; in a child's drawing huge blue and objectively sacred transparency. In my opinion, there is one reality and infinitely many visions. To sum it up as simple as I can: if the world is a tree growing more and more branches (metaphors), then life is the fruit. While love is the juice of various tastes in the same way as the resin is what a tree uses for weeping. All this happens in the surroundings of eternal gases where toxic ones come away leaving space to healthy ones. Rootstocks and roots grow expanding in the same way. Who are people then?Undoubtedly, they are savages from a primeval village who have learned what a real taste of love is: they adored each other at the expense of "god's" hatred, they are Adam and Eve. It is only owing to such a full image of love that new generations could come into existence. I also invite to see the video work titled "Lodz", in which I develop motifs I have earlier discussed. Another continuing video is in progress. The bottomless source is RGB without DNA." - Piotr Zbierski
Susan Worsham
Susan Worsham
United States
1969
Susan Worsham is a photography-based visual artist blurring the lines between autobiographical and documentary work. Susan Worsham captures the relationships and particularly difficult experiences she’s had while growing up in the American South, combining intimate portraiture, recorded oral history, and still life photography to create a multi-dimensional archeology of the recent past. Susan Worsham took her first photography class while studying graphic design. In 2009 she was nominated for the Santa Fe Prize for Photography, and her book Some Fox Trails in Virginia won first runner up in the fine art category of the Blurb Photography Book Now International Competition. In 2010 Susan Worsham was awarded the first TMC/ Kodak Film Grant, and was an Artist-in-Residence at Light Work. Susan Worsham’s photography is held in private collections, and has been exhibited at the Corcoran Museum during FotoWeek DC, The Photographic Center Northwest, Settle, Dean Jensen Gallery, Milwaukee, and the Danville Museum, Virginia. Her solo shows include: Candela Books + Gallery in Richmond, Virginia, Light Work in Syracuse, New York, and The Ogden Museum of Southern Art, New Orleans.Source: Jackson Fine Art The Southbound Project - Photographs of and about the New South Southbound project website
Erik Johansson
Erik Johansson
Sweden
1985
Erik Johansson (born 1985) is a photographer and visual artist from Sweden based in Prague, Czech Republic. His work can be described as surreal world created by combining different photographs. Erik works on both personal and commissioned projects with clients all around the world. In contrast to traditional photography he doesn't capture moments, he captures ideas with the help of his camera and imagination. The goal is to make it look as realistic as possible even if the scene itself contains impossible elements. In the end it all comes down to problem solving, finding a way to capture the impossible. To Erik it's always important with a high level of realism in his work. He want's the viewer to feel like they are part of the scene. Although his work consists of a lot of work in post-production and combining photogaphs he always tries to capture as much as possible in camera. "No one can tell you that it doesn’t look realistic if you actually captured it for real." Light and perspective are crucial parts when combining images in a realistic way and if some parts are not possible to shoot on location, a similar scene has to be built up in a controlled environment. Having an understanding of both photography and post production is very important to make everything come together seamlessly. Every photograph and part has its purpose. Erik always do all the post production himself to be in complete control of the end result. The idea, photography and post production are all connected. The final image doesn’t become better than the photographs used to capture it. Just like the photographs don’t become stronger than the idea. There are no computer generated-, illustrated- or stock photos in Erik's personal work, just complex combinations of his own photographs. It's a long process and he only creates 6-8 new images a year (excluding commissioned work). Artist Statement "My name is Erik Johansson, I was born in 1985 outside a small town called Götene in the middle of Sweden. I grew up on a farm with my parents and two younger sisters. For as long as I can remember I have liked drawing. Probably because of my grandmother who was a painter. Early I also got interested in computers, escaping to other worlds in computer games. At the age of 15 I got my first digital camera which opened up a new world. Being used to drawing it felt quite strange to be done after capturing a photo, it wasn’t the process of creating something in the same way. Having an interest in computers made it a quite natural step to start playing around with the photos and creating something that you couldn’t capture with the camera. It was a great way of learning, learning by trying. But I didn’t considered it as a profession until years later. In 2005 I moved to Gothenburg to study Computer engineering at Chalmers University of Technology. During my time studying I took up my interest for retouch once again. I had a lot of ideas that I wanted to realize and I saw it as problem solving trying to make it as realistic as possible. After publishing some of my images online I started to get requests about commissioned work from some local advertisement agencies. I started out freelancing in parallel with my studies while still working on personal projects. I got more and more jobs and at the time I finished my studies with a master in Interaction Design I felt like I rather wanted to try out the photography path. I moved to Norrköping in the eastern part of Sweden to start working full time as a freelance. I made new friends and got to work on interesting projects, both local and abroad. In early 2012 it was time for something new as I moved to Berlin, Germany. A very artistic city with lots of inspiration. Today I work with both personal and commissioned projects and I also started doing photography street illusions."Source: www.erikjo.com/
Martine Lemarchand
Martine Lemarchand
France
1965
Author of practical guides to adapted physical activity for seniors. The series is called "A close distant" During this particular period of confinement, I wanted to bounce back and use this reality as a springboard, a source of inspiration. The way for me to live this daily life was to challenge myself to take a picture a day. My approach was to observe the objects in my house in a new, poetic way, by getting closer to their essence. Gradually the central point of my inspiration was my kitchen, using different using different food ingredients (eggs, soy sauce, honey, milk, molasses, turmeric, wine, sparkling water, blue matcha...) and stoneware or glass utensils, to create a world that is very close (3 square meters of my room) and yet far away (abstract, spatial, elsewhere universe). I also used this free time to answer different contests or calls for projects and since then I aspire to deploy myself in photography. (Nominations dans la catégorie "abstrait": Fine Art Photography Awards, Siena Awards, Prix Julia Margaret Cameron femmes photographes, Chromatic photo Awards, Visions International Photo Awards)
Nikos Economopoulos
Nikos Economopoulos
Greece
1953
Nikos Economopoulos (b.1953) is a Greek photographer known for his photography of the Balkans and of Greece in particular. Born in Kalamata, Economopoulos studied law at university and worked as a journalist. He only started taking photographs at 25 when a friend in Italy showed him a book of the work of Henri Cartier-Bresson, which had an impact that was both instant and lasting. Cartier-Bresson "showed me a new way to see things... What I saw in his work was not only geometry and composition, but a kind of ambiguity." Economopoulos recalls that even then he did not start photography for over two years but instead bought photography books. Then he started photography: "I never photographed sunrises or made souvenir pictures of my children. For about eight or nine years I photographed at weekends and during my holidays, always in a serious way, working from morning to night." As early as 1984, Economopoulos says, "it bothered me ideologically that Greeks and Turks were enemies", and he visited Turkey to take photographs. "No Greek at that time would go to Turkey on holiday", he writes, and his Greek friends were incredulous; but Economopoulos quickly felt at home in Turkey, where the atmosphere "was exactly the same as when I was a kid in the 1960s." (Much later, he would add that Greece and western Turkey had replaced tavernas with McDonald's, while east Turkey still preserved the values of the past.) In 1988, Economopoulos finished work as a journalist and set off on a two-year photographic survey of Greece and Turkey. Nikos Economopoulos was encouraged to join Magnum Photos by the Greek-American photographer Costa Manos, and became an associate member in 1990 and, after his work in Albania, Bulgaria, Romania and the former Yugoslavia, a full member in 1994. His early work won him the 1992 Mother Jones Award for Documentary Photography. In 1993, Frank Viviano, who had first met Economopoulos in Timișoara just after the fall of Nicolae Ceauşescu, wrote that: "Economopoulos says his intention is to document the existence of what he calls the 'Balkan Man': to knit together the skeins of a collective identity in a region whose historical convulsions have made its name a synonym for implacable differences. It would appear to be a fool's errand. But almost anyone who has crossed the madman's web of frontiers and borders that stretches over the Balkans, from Istanbul to the Italian border, is likely to agree with Economopoulos's premise — and to recognize, in his work, the contradictions that sum up Balkan truth." With support from the Little Brothers of the Poor, in 1994 Economopoulos photographed gypsies in Greece, and in 1995–96 lignite miners and Muslims in Greece. In 1997–98 he concentrated on people living on the "Green Line" separating Northern Cyprus, illegal migration across the Albanian–Greek border, and young people in Tokyo; and for the next two years Albanians fleeing Kosovo. He also worked on a commission from the University of the Aegean on storytelling in the region. Economopoulos was dissatisfied with the assignment in Japan, as he felt unable to communicate with people and was just as estranged after three weeks of work as he had been on his arrival. By contrast, he writes that "I prefer to spend my time in my corner of the world, south Europe and west Asia, where I understand the codes and can make connections." This does not mean that the Balkans are an open book to him: Economopoulos has also written of the paradoxes apparent in Albania; and also across the Balkans, where faces can be sad even in wedding parties. Economopoulos's photography of Turkey won him the 2001 Abdi İpekçi Award for promoting friendship between Turkey and Greece. Painfully aware of the bitterness often encouraged in both Greece and Turkey toward the other, he has written appreciatively of the personal welcome given to him by the Turks that he meets. "There are no real differences [between Greeks and Turks]. I love Turkey and I can live there. I can't live in Paris or in London. But Istanbul — I can live there." Economopoulos's photographs have been published in The Guardian, The Independent, Le Monde, Libération, The New York Times, El País, and Die Zeit. He feels that there is no future in photojournalism. There is a loss of quality in photographs in newspapers, and Robert Capa would not take photographs if he were living today. But he concedes that Abbas and James Nachtwey would be among those who disagree.Source: Wikipedia In the mid-1990s, he started photographing the Roma and other minorities. In 2000, he completed a book project on the Aegean islands storytellers, commissioned by the University of the Aegean. A retrospective of his work titled Economopoulos, Photographer was published in 2002 and later exhibited at the Benaki Museum, Athens. Returning to Turkey, he pursued his long-term personal project, where he received the Abdi Ipektsi award (2001), for peace and friendship between Greek and Turkish people. He has recently turned to the use of color. Currently, he is spending most of his time away from Greece, traveling, teaching and photographing around the world, in the context of his long-term On The Road project.Source: Magnum Photos
Alessandro Zanoni
Alessandro Zanoni
Italy
1970
Alessandro Zanoni is an Italian Art Director and Photographer. His interest encompasses a profound love for urban landscapes, architecture, and the allure of night photography. Zanoni's reportages have garnered recognition, finding a place in esteemed publications such as Domus, Life Framer, Vice, Fubiz, Divisare, Photography of China, Creative Boom, Pellicola Mag, Il Fotografo, Style Magazine, and many others. His lens has captured the essence of China with in-depth reports on Wuhan, documenting the evolution of ghost towns in Inner Mongolia, and chronicling the gradual disappearance of urban villages in the bustling cities of Shenzhen and Shanghai. Beyond China, Zanoni explored the urban landscapes of Tokyo, Taipei, Seoul, and Hanoi. Delving into unusual and desolate urban vistas, he explores the intricate relationship between humanity and the cities it inhabits, creating a visual dialogue that transcends borders. Zanoni also often turns his attention to the landscapes of his upbringing, immersing himself in the ethereal mists of the Po Valley. A recipient of numerous international photography accolades, including honours from the International Photography Awards, The Independent Photographer, Sony World Photography Awards, Lens Culture, and Life Framer, Zanoni's portfolio graces solo and group exhibitions in Europe and the USA.
Tomáš Neuwirth
Tomáš Neuwirth
Czech Republic
1972
Tomáš Neuwirth was born in Czech Republic in 1972. He is a freelance photographer specializing in drone photography. A major milestone in his life was the year 1995, when he began to devote himself to paragliding. As a pilot, he was fascinated by taking pictures of the bird's eye, then still on the 35mm film camera. The following year, he moved to the USA. His stay here after three and half years ended the paragliding incident and with serious injuries of the spine he returned to the Czech Republic. He then spent eight months in a sanatorium, learned not only to walk again, but also met his future wife Gabriela. Capturing of aerial footage continued to attract him. And with the advent of unmanned systems, new possibilities were opened. His first drone he folded in 2011, it was a kit. However, the desired shots were made by commercially produced drones in the following years. Today, Tomáš is involved in drone and classical photography professionally. By selecting extraordinary places and post-production processing, he is trying to shift drone photography to the next level. From capturing landscapes to a Fine Art expression. He received many awards from international competitions. In 2019 he succeeded to win with in the prestigious contest MIFA - Moscow International Fotography Awards (Nature Photographer of the Year). In the same year, The Independent Photographer Magazine included his image among the TOP 10 Most incredible landscapes from across the planet. And ranked him in the selection Talents of the Year 2018/2019. He was also nominated for a Personality of Czech Photography. Statement I generally regard art as a form of self-expression. An opportunity to share own opinion, own perception of the world, with others. Photography has become my means of expression. Its strength is in capturing a given moment - a unique, unrepeatable moment. Everything is different in a second. I focus mainly on drone photography which, by its very nature, is predestined for landscape, long-distance views, great depth of field etc. From the perspective of the photographer, there are fewer possibilities for artistic expression. Therefore it depends very much on the choice of location and how to capture it. I, therefore, try to find unusual locations - often places that do not seem that interesting on the first impression. However, a bird's eye view gives them a whole new dimension.
René Burri
René Burri
Switzerland
1933 | † 2014
René Burri is a Swiss photographer known for his photos of major political, historical and cultural events and key figures of the second half of the 20th century. Burri worked for Magnum Photos and has been photographing political, military and artistic figures and scenes since 1946. He has made portraits of Che Guevara and Pablo Picasso as well as iconic pictures of São Paulo and Brasília. Burri studied in Zurich, Switzerland at the School of Applied Arts from 1949 to 1953, where he worked under Hans Finsler, Alfred Willimann and Johannes Itten. From 1953 to 1955 he began working as a documentary filmmaker while completing military service. During this time he also began working with Leica cameras. Then he worked for Disney as a cameraman until 1955. From 1956 to 1959 he traveled extensively to places including Turkey, Egypt, Syria, Iraq, Jordan, Lebanon, Italy, France, Spain, Greece, Brazil, and Japan, which led to publications in Life, Look, Stern, Paris-Match, Epoca, and New York Times, as well as a photographic essay "El Gaucho" which appeared in Du. Burri first began working with Magnum Photos in 1955 through Werner Bischof, becoming a full member in 1959 and being elected chair of Magnum France in 1982. His first report "Touch of Music for the Deaf" on deaf-mute children was published by Life. In 1965 he assisted with the creation of Magnum Films which lead to his work on the Magnum-BBC joint production of, The Two Faces of China. In 1967 he produced a documentary on the Six-Day War in Jerusalem for German television. He produced the film Jean Tinguely in 1972. In 1963 Burri was working in Cuba when he was able to photograph the revolutionary Che Guevara; these images of Guevara smoking a cigar have become iconic. Notably, after taking the photos, Burri remembers Guevara "scaring the hell out of him". Describing a situation where an angry Che was pacing his tiny office like "a caged tiger", while being interviewed by an American woman from Look. While "hectoring" the reporter and "chomping on his cigar", Che suddenly looked Burri straight in the eye and told him "if I catch up with your friend Andy, I'll cut his throat" (while slowly drawing his finger across his neck). Andy was Andrew St. George, a fellow Magnum photographer, who had travelled with Che in the Sierra Maestra, and then later filed reports for American intelligence. Source: Wikipedia René Burri studied at the School of Applied Arts in his native city of Zurich, Switzerland. From 1953 to 1955 he worked as a documentary film-maker and began to use a Leica while doing his military service. Burri became an associate of Magnum in 1955 and received international attention for one of his first reportages, on deaf-mute children, Touch of Music for the Deaf, published in LIFE magazine. In 1956, he traveled throughout Europe and the Middle East and then went to Latin America, where he made a series on the Gauchos that was published by Du magazine in 1959. It was also for this Swiss periodical that he photographed artists such as Picasso, Giacometti, and Le Corbusier. He became a full member of Magnum in 1959, and started work on his book Die Deutschen, published in Switzerland in 1962, and by Robert Delpire the following year with the title Les Allemands. In 1963, while working in Cuba, he photographed Ernesto ‘Che’ Guevara during an interview with an American journalist. His images of the famous revolutionary with his cigar appeared around the world. Burri participated in the creation of Magnum Films in 1965 and afterwards spent six months in China, where he made the film The Two Faces of China produced by the BBC. He opened the Magnum Gallery in Paris in 1962, while continuing his activities as a photographer; at the same time, he made collages and drawings. In 1998, Burri won the Dr. Erich Salomon Prize from the German Association of Photography. A big retrospective of his work was held in 2004-2005 at the Maison Européenne de la Photographie in Paris and toured many other European museums. René Burri passed away at the age of 81 on October 20, 2014. Source: Magnum Photos
Gautam Narang
Gautam Narang
United Kingdom
1984
I found photography by mistake, when doing my GCSE, I was sitting in the study room, then heard a teacher describe the subjects they taught at the school. As he was going through the subjects, he mentioned photography. I thought to myself was this a subject? Photography! It's so easy, all you do is click (How, wrong I was, how very wrong) *sigh*. As a child I used to play around with cameras. I always looked through them as was interested In them. So I sat in the lesson and was very enthusiastic to start a creative art. The journey had begun. One of the first subjects I started to picture was boats .....mmm yes boats. I lived near a canal and started to photograph boats. I don't know why I picked boats, it's quite sad when I look back, but that was one of my subjects. I took thousands of photographs, trying to make the subjects look Interesting. I remember one day I took all my photographs and filled up a whole table. The obsession had started but I hadn't known. Pictures now filled my room. From the start I always wanted to show my best. I would keep a box of my best photographs and then throw away all the one's I didn't like. I always feel the next picture is my favorite picture, wanting to create new work. As I progressed through my studies, I became distracted. There were so many subjects to do and I tried them all. One week I was doing art of history, then chemistry. I then dropped them all and just focused on photography. To this day, I follow photography. I have learned a lot but I am still confused on what to do next. I love what I do, but everybody tells me go into other things. Photography is more than clicking a button. From my first trip In India I have learned more about life then I would from anything. It teaches you to look, understand and observe rather then just walk away.All about Gautam Narang:AAP: When did you realize you wanted to be a photographer?Well after high school, I pretty much knew that is something that I’ve wanted to do, and it’s pretty much all that I’ve pictured myself doing. I’ve tried office jobs, but they usually don’t work, for example being an assistant was not a great experience. Order wold be forgotten and i’m not a office type or person, the stress kills me. So i’ve always gratiated to something creative.AAP: Where did you study photography?I studied at HND Photography at City and islington. Was the youngest student, out of the program my closet friend was Robert Harper who does amazing fashion photography. We used to chill and take pictures, it was really nice experience. Education to me, especially in the arts isn’t what i’ve expected it to be. The real learning happens when your out of school, and making friends with like minded pepole, finding who you are, I know it sounds like a really simple question, but you get asked “Who are you? What is your favorite movie? Favorite Artist and etc.” These days things are getting competitive and to really stand out is to have strong connections with people. AAP:Do you have a mentor?Yes, the teacher at my school. He was in 60’s and was my best friend, he taught me a lot on business, being an artist, encouraged me, let me use his studio and gave experience in the studio with while doing still life photography. He would also make all his own equipment, was really cool learning from him. My other mentor was Jasper James, he introduced me to style. He showed me that movies could be arty, before that I didn’t really watch any arty stuff. We also traveled around the UK on projects and that was a lot of fun. AAP: How long have you been a photographer?12 years.AAP: Do you remember your first shot? What was it?They were pictures of cannel boats, in England I used to live near a cannel.AAP: What or who inspires you?Well Edward Hooper is a great inspiration. His images feel like movie scenes, they have such a powerful mood to them. Artist have always inspired me. William Eggleston is someone would really inspires me.AAP: How could you describe your style?As simple and bold. I’m a huge fan of bold colors and like to keep things simple.AAP: What kind of gear do you use? Camera, lens, digital, film?I use the Canon 5D Mark II and my iPhone 4, it’s great, you can take it anywhere and pepole aren’t imitated by it, you look like a tourist. The iPhone has a look, in 20 years when we have images that are so sharp that you can’t tell if your looking at something real. Images from are primitive cameras and mobile devices will be called “Retro” they come with a time stamp, the actually medium is a time capsule. It’s not about the quality, it’s about the message, that will last longer.AAP: Do you spend a lot of time editing your images?I’m not a fan of editing, i’ve never liked it, only the darkroom.AAP: Favorite(s) photographer(s)?Steve McCurry, Willam Eggleston, Dorothea Lange. AAP: What advice would you give a young photographer?Go out and find your own vision, and all this likes and things mean nothing. It’s hard putting yourself out there, and pepole don’t usually respond. You start to want to appeal to others and worry if you posting to much. Do it for yourself, who cares about all this fame? Who knows if these websites will be around, this data? One day, you might be recognized.AAP: What mistake should a young photographer avoid?Don’t point fingers, point them at yourself first. Don’t blame others, really look at yourself first.AAP: An idea, a sentence, a project you would like to share?My work is constantly changing and I like that. To keep evolving you need to keep changing.AAP: Your best memory has a photographer?Working on location in India, working in a old Indian palace, documenting Indian folk singers. It’s an experience the kings once enjoyed.AAP: Your worst souvenir has a photographer?A broken camera lens.AAP: If you could have taken the photographs of someone else who would it be?Steve McCurry he has my dream jobAAP: Anything else you would like to share?I’m into film making now, really want to be a DOP or camera operator. Currently i’m based in Toronto.
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Interview
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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Exclusive Interview with Peter Ydeen
Interview
Exclusive Interview with Peter Ydeen
Winner of AAP Magazine #45 Travels, his series reflects this unique vision—capturing the spirit of place through subtle layers of light, color, and emotion. Whether traveling abroad or observing the rhythms of his own surroundings, Ydeen creates images that feel both grounded and enchanted, inviting viewers into a world where reality and reverie meet.
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Exclusive Interview with Julie Wang
Interview
Exclusive Interview with Julie Wang
Chinese-born photographer Julie Wang brings a poetic, contemplative sensitivity to her visual exploration of the world. Having lived for nearly equal parts of her life in China, Europe, and the United States, she approaches her subjects with the nuanced perspective of someone shaped by many cultures. This blend of distance, curiosity, and emotional resonance infuses her work with a quiet depth, allowing her to reveal the fragile beauty and subtle tensions that often pass unnoticed.
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Exclusive Interview with Ghawam Kouchaki
Interview
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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Exclusive Interview with Tommi Viitala
Interview
Exclusive Interview with Tommi Viitala
Tommi Viitala, winner of AAP Magazine #44: Street, is a Finnish photographer celebrated for his striking and cinematic street photography. With a keen eye for atmosphere and composition, he captures fleeting urban moments that reveal the poetry of everyday life. His work often explores the tension between solitude and connection within contemporary cityscapes, blending documentary realism with artistic sensibility. Viitala’s photographs have been exhibited internationally and recognized for their strong visual storytelling and emotional depth. We asked him a few questions about his life and work.
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Exclusive Interview with Robert Mack
Interview
Exclusive Interview with Robert Mack
Robert Mack is a California-based visual artist, photographer, and filmmaker. His fine art photography and films have been exhibited widely in the United States and Europe, with major shows at the Baltimore Museum of Art and the Reiss-Engelhorn Museum in Mannheim, Germany. Both institutions hold his work in their permanent collections. Working across different media, Mack has built a career exploring the complexities of human presence and representation. In 1981, while living in Baltimore, he produced The Perkins Project: Not Guilty by Reason of Insanity, a rare photographic and film study inside Maryland’s hospital for the criminally insane. These stark yet compassionate black-and-white portraits remain one of his most powerful and controversial bodies of work.
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