All about photo.com: photo contests, photography exhibitions, galleries, photographers, books, schools and venues.
Win a Solo Exhibition in July 2026 + An Exclusive Interview!
Win a Solo Exhibition in July 2026 + An Exclusive Interview!
  1. Home
  2. All Photographers
  3. Modern Photographers
  4. Nicola Ducati
Nicola Ducati
Nicola Ducati
Nicola Ducati

Nicola Ducati

Country: Italy
Birth: 1973

My name is Nicola Ducati
I am an Italian photographer, travel and portrait photography is my expressive medium. With my pictures I want to tell stories that create empathy between the viewer and the subject with elegance and authenticity.

I was born in a small town among the Italian Alps.

I have always lived in a beautiful place that has made me grow and appreciate nature, animals, quiet places and respect for what surrounds us, I think this way of living in the countryside has greatly influenced my photographic sensitivity.

I approached the world of photography by chance. As a child, I used to play with an old camera found who knows where, a shabby but fascinating object that soon became a passion. Later, my curiosity led me to experiment with many different genres, from the first landscape, travel photography, and finally the travel portrait.
Today I especially like photography, which tells stories but also lets you imagine them, which excites and suggests reflections. A narrating photography.


What I like
I photograph only what I like and what fascinates me, I am a curious person and i try to find what in the world unites us not what divides us, I mean that I try to bring out those traits of humanity that make us all connected. An exercise to accept with empathy the entropy of our world.

My photography is not conceptual, it represents what I see, what I feel important, what excites me or moves me. I love when the emotion and the story hidden inside a picture reaches the observer. I entrust my work and aesthetics photography to the task of telling and giving the observer inspiration and sense of belonging. Photography that responds to this, is a successful one.

Websites

nicoladucati.myportfolio.com

@nicola.ducati

 

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

Andrew Moore
Andrew Moore
United States
1957
Andrew Moore’s work is in the collection of the Whitney Museum of American Art, Yale University Art Gallery, the Library of Congress, the Israel Museum, the High Museum, the George Eastman House and the Canadian Centre for Architecture. Recent exhibitions include The Queens Museum, Columbia University and The Museum of the City of New York in conjunction with a retrospective on the legacy of Robert Moses. Moore has had recent solo shows in Minneapolis, Moscow, Paris, San Francisco, and Nebraska. In 1975, Moore enrolled at Princeton University, where he worked on an independent major in photography under the guidance and mentorship of the historian Peter Bunnell and the photographer Emmet Gowin, who at the time, was completing his first monograph. During that time, Moore also had the benefit of working with visiting artists including Frederick Sommer, Jim Dow, and Joel Meyerowitz. Moore graduated summa cum laude in 1979. After a brief stint working with commercial photographers in New York City, Moore moved to New Orleans, where he continued a body of work first started for his senior thesis. Over the next two years, he focused on the city’s disappearing commercial district, where he found subjects such as a coffin workshop, a broom factory, and a raw furrier–places employing artisans and outdated machinery. The New Orleans Downtown Development District awarded Moore a grant which enabled him to produce a portfolio of one-hundred 8x10 color contact prints, which were placed in the city’s archives. In 1981, Moore returned to New York City, where he began a three-year project documenting the rapid changes to the urban landscape, specifically at the South Street Seaport and Fulton Fish Market in lower Manhattan. At the start of his project, the demolition of the present marketplace and shopping pier was just getting underway. Moore returned many times over the following months, often photographing at night to portray the architecture and ambiance of the surrounding neighborhood amidst massive, rapid transformation. For this work, Moore and two other photographers, Barbara Mensch and Jeff Perkell, were awarded grants from the JM Kaplan Foundation, and the New York State Council on the Arts, which enabled the completed project, South Street Survey to be shown at the Municipal Art Society in 1985. During this time, Moore was also working on a series of photographs of grain elevators in Buffalo, New York with the assistance of an NYSCA individual grant. In Buffalo, Moore met a group of artists working with appropriated imagery, which inspired him to begin using mechanical and chemical processes to incorporate multiple negatives, paintings, drawings, and xeroxes into complex montage images outside of strict documentary practice. This method of recombination, in the era before Photoshop, created images of convulsive beauty and were the subject of Moore’s first solo exhibition in New York at Lieberman and Saul Gallery in 1986, following his first solo show at Real Art Ways in Hartford, CT in 1985. Moore continued this method of montaging imagery for the next 7 years, expanding his practice into experimental short films. During this time, Moore collaborated on short films with others including the artists Lee Breuer and David Byrne. His film Nosferatu 1989 was nationally broadcast on MTV and PBS’s New Television series. 42nd Street In 1995, Moore returned to his roots in documentary practice as the texture of New York’s 42nd Street was rapidly changing. With all of the theaters between 7th and 8th avenues scheduled to be razed or refurbished, Moore sought permission to photograph the torn seats and faded fire curtains which told the stories of those spaces. In 1997, Moore showed these photographs at Yancey Richardson Gallery in New York. Despite his change of style, the work was well-received; in a review for The New Yorker, Andrew Long noted, “The straight forward treatment is a departure for the photographer, who characteristically produces multi-image evocations of New York City. Nothing is lost however - his earlier poetic constructs now give way to broader arenas for the imagination to roam.” Cuba Moore first traveled to Cuba in 1998 to photograph Havana’s decaying theaters. The project soon expanded in scope to document the larger effects of Cuba’s permanent Revolution, which were particularly apparent during the economic depression known as the “Período especial.” Moore’s large-scale color photographs of Havana reveal an elegant but crumbling metropolis of muted pastel interiors, courtyards, and scenes of daily life. Moore returned to photograph Cuba’s architecture and environment over the next 14 years, in the process publishing two monographs Inside Havana (Chronicle Books, 2002) and Cuba (Damiani, 2012). Moore has said his work intends to show, “how contemporary history, and specifically cultures in transition, are expressed through architecture.” The photographer Julius Shulman wrote of Inside Havana, “Exhibited throughout Moore’s work is a genuine flavor of ‘presence’. He does not attempt to gloss over questionable conditions, nor does he try to contort reality. With tremendous sensitivity, Moore creates art statements of the architecture he shows us. His images are painterly and poetic.” Moore’s photographs from Cuba appeared as a cover story in the September 23, 2012 issue of New York Times Magazine. Russia While working in Cuba, Moore became interested in the island nation’s long relationship with Russia. This led him to photograph the architectural environments where Russian history and politics collide in unexpected ways. Between 2000 and 2004 Moore made 8 trips around Russia from St. Petersburg to the remotest parts of the country. The New Yorker wrote of the work, “in taking Russia - its contradictions and gorgeous ruins - at face value, he captures a country’s diversity and history.” For example, Moore photographed a “czarist church [that] was turned into a soap factory during the Soviet period, and now has been restored into a kind of youth center.” Moore remarked, “For me these kinds of subjects present a cross-section through time: they address Russia’s complex past, as well as the larger compacting and collapsing processes of contemporary history.” In 2004, Moore published the monograph Russia Beyond Utopia (Chronicle Books, 2004). Detroit In 2008 and 2009, Moore traveled to Detroit to portray in photographs “the idea that in an urban setting you could also have a landscape happening, the forces of nature intersecting with American urbanism, the process of decline also intersecting with the revival of nature.” In 2010, Moore released Detroit Disassembled (Damiani, 2010), with an introduction by Detroit-native and Poet Laureate Philip Levine, to coincide with an exhibition at the Akron Art Museum. He was originally invited to document the city by two young French photographers, Yves Marchand and Romain Meffre, who had been photographing Detroit’s abandoned spaces since 2005. While Moore’s Detroit series follows the themes of transformation and decaying space explored in previous bodies of work, his focus on the motor city generated controversy in the pages of The New Republic and the journal Guernica. The photographs were decried as “ruin porn,” which Mike Rubin defined in The New York Times as “urban decay as empty cliché, smacking of voyeurism and exploitation.” Curator Sarah Kennel writes in The Memory of Time, an exhibition catalog from the National Gallery of Art, that, “in Moore’s photographs, ruination serves more explicitly as an allegory of modernity’s failure.” Other critics argue that whether or not Moore’s Detroit photographs fit the category of “ruin porn” is a matter of academic debate. Joseph Stanhope Cialdella argues in the journal Environmental History that Moore’s work instead conveys the “aesthetic of a postindustrial sublime” which “gives nature the authority to transform the image of Detroit into a novel, yet disturbing landscape that blurs the lines between wilderness and the city.” Dora Apel writes in Beautiful Terrible Ruins that Moore’s “pictures of Detroit tend to emphasize the relationship of nature and culture, with nature in the ascendancy.” Apel ultimately argues that the “ruin porn” images and debate fail to focus on the political and economic policies that are the root causes of the ruins. Dirt Meridian From 2005 to 2014, Moore photographed the people and landscape of “great American Desert,” which roughly includes the area west of the 100th meridian to the Rocky Mountains, from Texas north to Canada. The area is one of the most sparsely populated regions in the country, “where the daily reality is often defined by drought and hardship.” To make many of the photographs, Moore collaborated with Doug Dean, the pilot of a single-engine aircraft, to create bird’s-eye perspectives revealing the vastness of the land. Rather than flying high above the plains, Moore chose perspectives that have “the sense of being within the landscape rather than above it.” For an essay accompanying Moore’s photographs in The New York Times Magazine, Inara Verzemnieks wrote, “From above, the land is like one endless, unpunctuated idea - sand, tumbleweed, turkey, bunch stem, buffalo, meadow, cow, rick of hay, creek, sunflower, sand — and only rarely did a house or a windmill or a barn suddenly appear to suspend the sense of limitlessness.” On the ground, Moore photographed the people who inhabit this unforgiving landscape and the evidence of their efforts, from active homesteads to abandoned schoolhouses. These photographs are published in Moore’s newest monograph: Dirt Meridian (Damiani, 2015).
Joseph Rafferty
Joseph Rafferty
United States
1976
Joseph Rafferty's projects are his artistic statements. When he was eight, his mother died. She went on vacation to Hawaii, and returned in a coffin. The boy was immediately uprooted from free and love-filled life, and forced to live with a freshly born-again Christian father, who became Joseph's newly self-appointed spiritual leader. An environmental lawyer who didn't ensure the safety of his own child's environment. Joseph's father silenced individuality, demanded polite compliance, and along with his stepmother, kept a still-grieving child tethered to linear thinking, Joseph did not develop the art of verbal expression. He quickly learned to swallow truth and hide pain. Photography became a powerful thread of connection to his emotion and spiritual ideas, laced with the harsh realities of a flawed culture, and the ironies within his family's worldview. Photography was an open window in his prison, giving fresh breath to a starving soul, and it became a pivotal foundation in his metamorphosis. It provided the theatre of the mind with a stage, creating space for growth and transformation beyond the stifling shell that threatened to entomb. Thriving on the sunshine of his bohemian mother's love. Joseph's nonlinear and free imprinting is counterculture's birthplace, San Francisco a land of a thousand languages, a thousand sexualities. This critical period of exposure deep seeded beliefs and values into the young child's subconsciousness he loved to see love. When his mom passed - her fashion colleagues & community sent words of condolences + small gifts of money. During his military enlistment Joseph would return to the photography store his mom frequented. With the small gifts of cash from letters of condolence he purchased large & medium format cameras and tripods. If I purchase cameras she's always with me. In doing so, he channels her instrumental spirit - a spirit guiding him from the pain and anger of his youth, and led to light. Through loving memory of her unconditional support, Joseph's found a peace and purpose in life, grounded in relationships with his partner and their children, mindful of certain pitfalls in our culture, and dedicated to the unedited, true expression of unique experience. Photography has been a life-line of expression during Joseph's stay on earth, feeling most grounded when his ideas materialize to visual imagery. Motivated by a passion for social justice, Joseph lives in a realm of beauty amongst pain. His visual linguistics are sculpted props and drawings, through which his visceral experiences emerge as a visual tapestry. Weaving images that provoke emotion and encourage empathy for others despite differences, Joseph's visuals are moments of "things as they are experienced psychologically, rather than things as they are scientifically" (William Mortensen). His body of work also influenced by early foundational years among the Redwood trees, his service in the United States Military, and his education at Art Center College of Design. Heavily inspired by Arnold Newman's manipulation of existing light, Joseph captures images with all formats of cameras. His photographic subjects begin with an idea explored through sketches further developed through research (literature, current events, locations, and style), and are materialized through intuitively sculpting of props. Each detail becomes a tool in building a landscape of meaning.
Natalya Saprunova
Natalya Saprunova
France/Russia
1986
Natalya Saprunova, originally from the Arctic region of Russia on the Kola Peninsula in Murmansk, is a documentary photographer based in Paris. During her higher studies to become a French teacher in Russia, she worked as a photojournalist for the daily newspaper Murmansk Messenger. After arriving in France in 2008, she studied and worked in marketing as part of her journey toward acquiring French citizenship. Eight years later, she left her permanent contract to fully return to photography. Graduated in Documentary Photojournalism from the EMI-CFD School in Paris in 2020, Natalya now pursues an ethnographic approach exploring contemporary issues such as identity, environment, climate change, youth, femininity, and spirituality. Passionate about knowledge sharing, she has been teaching photography since 2016 at Graine de Photographe school in Paris and has also led photo journeys in Russia, including in Saint-Petersburg and at Baikal Lake. She also speaks at conferences and works with young audiences to raise awareness about the environmental, cultural, and social issues she documents. Since 2019, Natalya has been retracing the Great North route of her childhood. As a teenager, she was fascinated by the legends and history of the Indigenous Saami reindeer herders. Today, she travels alone between Siberia, Mongolia, Canada and Europe, adopting local ways of life wherever she goes. Once in the field, she builds connections with communities who, moved by her project, welcome her and share with her their culture, their concerns, their hopes, and their daily lives. She works on long-term projects, regularly returning to these extreme environments, facing temperatures that can drop below –60°C or rise beyond +35°C.
Vincenzo Barone
Vincenzo Barone
Italy
1983
I was born in Italy and I lived there for a while then I ended up in France by chance. I was a musician, a writer and a philosopher. Currently I am a photographer. My photographic research finds its focal point in the street, among people, in the quite chaos of everyday life and the surprise of the daily routine. Anything ambiguous, hidden in the sunlight and in the shadows, can fascinate me. The human presence is essential in my photos, what cannot be seen and especially what is nebulously perceives represents the true essence of my research. Reinventing the signifier of everyday life, creating a new reading code, like in a dream where what seems is not. I shoot almost exclusively digitally, going from colour to black and white depending on the current project or, quite simply, depending on what I want to transmit. My photography is constantly evolving: a process that requires courage and chaotic discipline.
Darren Lewey
Darren Lewey
British
1968
Darren Lewey (b. 1968 in Hertfordshire, UK) is a photographer based in Morocco. Photography became his passion at school after which he graduated with a BA in Photographic Studies from Derby College in 1992. Drawn to Morocco as a student, he made careers in teaching and television directing before finally settling there in 2010. Working in projects, his photographs of landscapes and people show a readiness to look for shapes and structures in the former and a quietness of character through his portraits. Focusing on the less spectacular locations, closer to where he lives, Darren is intrigued by offering another photographic vision of the country. One that runs counter to the exotic imagery more usually associated with Morocco. He has been avidly developing personal projects since 2016 alongside running workshops for clients through his teaching site: Creative Camera. His first completed project, Salinity, takes a 'topographic' look at the landscapes of small scale salt production. It's due to be published in late 2021.
Bryan Adams
Bryan Adams
Canada
1959
Adams works as a photographer as well as musician, aside from being published in British Vogue, L'uomo Vogue, Harper's Bazaar, Esquire, Interview magazine and i-D, among others, he has also shot advertising campaigns for Guess Jeans, Sand, Converse, Montblanc, John Richmond, Fred Perry, and more recently for Escada. He has won Lead Awards twice in Germany for his fashion work, most recently June 2012 and previously in 2006. Other photographic endeavours include founding the art fashion Zoo Magazine, based in Berlin, Germany for which he shoots for regularly. His first book of photos will be released by Steidl in 2012 entitled Exposed. Previous published collaborations include; American Women June 2005, for Calvin Klein in the United States; proceeds from this book went to Memorial Sloan–Kettering Cancer Center in New York City for their breast cancer research for programs, and Made in Canada December 1999 for Flare Magazine in Canada; proceeds went to the Canadian Breast Cancer Foundation. Both books were dedicated to his friend Donna, who died of the disease. As a photographer, Adams has worked with many of his musical peers, including Lana Del Rey, The Who, Sting, Shania Twain, Mick Jagger, Arcade Fire, Ray Charles, Tina Turner, Rod Stewart, Robert Plant, Take That, Joss Stone, Plácido Domingo, Sarah McLachlan, Celine Dion, Billy Idol, Moby, Lindsay Lohan, Amy Winehouse, Annie Lennox, Peter Gabriel, Bryan Ferry, Lenny Kravitz, Die Antwoord, and Morrissey to name a few. On 27 November 2000 Adams played onstage with The Who at the Royal Albert Hall. A DVD of the concert was issued. Adams photographed the band and his photos appear in the DVD booklet. In 2002, Adams was invited, along with other photographers from the Commonwealth, to photograph Queen Elizabeth II during her Golden Jubilee; one of the photographs from this session was used as a Canadian postage stamp in 2004 and again in 2005 (see Queen Elizabeth II definitive stamp (Canada)), another portrait of both Queen Elizabeth II and Prince Philip is now in the National Portrait Gallery in London. Adams supports the Hear the World initiative as a photographer in its aim to raise global awareness for the topic of hearing and hearing loss. He photographed Michael J. Fox and Tatjana Patitz in the 2011 Carl Zeiss AG company calendar in New York City in the summer of 2010. The focus was about the size difference of the subjects in a comedic presentation. In 2011, Adams provided the cover art for Lioness: Hidden Treasures, a posthumous release by Amy Winehouse.Source: Wikipedia Rock Icon Bryan Adams' lifelong interest in photography turned into a vocation when he began shooting for fashion magazines and advertisers more than a decade ago. But it's not all models and celebrities: He most recently turned his lens on 40 British soldiers returning from Iraq and Afghanistan. His series Wounded: The Legacy of War, the subject of a 2013 book from Steidl and an exhibit at London’s Somerset House on display this month through Jan. 25, showcases the brutal (and all too common) injuries incurred in battle. "I didn't like the fact that people were getting so badly hurt, so many people were killed, were displaced, forgotten. This is my statement," says Adams, 55. On the legacy of the images, he says, "I hope [people] realize that these guys made an incredible sacrifice. War is disgusting and this is the result of what happens when we decide to beat each other up."Source: Billboard
Garry Winogrand
Garry Winogrand
United States
1928 | † 1984
Garry Winogrand was an American street photographer, known for his portrayal of U.S. life and its social issues, in the mid-20th century. Photography curator, historian, and critic John Szarkowski called Winogrand the central photographer of his generation. Winogrand was influenced by Walker Evans and Robert Frank and their respective publications American Photographs and The Americans. Henri Cartier-Bresson was another influence although stylistically different. Winogrand worked as a freelance photojournalist and advertising photographer in the 1950s and 1960s. Between 1952 and 1954 he freelanced with the PIX Publishing agency in Manhattan on an introduction from Ed Feingersh, and from 1954 at Brackman Associates. Winogrand's beach scene of a man playfully lifting a woman above the waves appeared in the 1955 The Family of Man exhibition at the Museum of Modern Art in New York which then toured the world to be seen by 9 million visitors. His first solo show was held at Image Gallery in New York in 1959. His first notable exhibition was in Five Unrelated Photographers in 1963, also at MoMA in New York, along with Minor White, George Krause, Jerome Liebling, and Ken Heyman. Winogrand was known for his portrayal of American life in the early 1960s. Many of his photographs depict the social issues of his time and in the role of media in shaping attitudes. He roamed the streets of New York with his 35mm Leica camera rapidly taking photographs using a prefocused wide angle lens. His pictures frequently appeared as if they were driven by the energy of the events he was witnessing. Winogrand's photographs of the Bronx Zoo and the Coney Island Aquarium made up his first book The Animals (1969), a collection of pictures that observes the connections between humans and animals. He received three Guggenheim Fellowships to work on personal projects, a fellowship from the National Endowment for the Arts, and published four books during his lifetime. He was one of three photographers featured in the influential New Documents exhibition at Museum of Modern Art in New York in 1967 and had solo exhibitions there in 1969, 1977, and 1988. He supported himself by working as a freelance photojournalist and advertising photographer in the 1950s and 1960s, and taught photography in the 1970s. His photographs featured in photography magazines including Popular Photography, Eros, Contemporary Photographer, and Photography Annual. Critic Sean O'Hagan wrote in 2014 that in "the 1960s and 70s, he defined street photography as an attitude as well as a style – and it has laboured in his shadow ever since, so definitive are his photographs of New York"; and in 2010 that though he photographed elsewhere, "Winogrand was essentially a New York photographer: frenetic, in-your-face, arty despite himself." Phil Coomes, writing for BBC News in 2013, said "For those of us interested in street photography there are a few names that stand out and one of those is Garry Winogrand, whose pictures of New York in the 1960s are a photographic lesson in every frame." In his lifetime Winogrand published four monographs: The Animals (1969), Women are Beautiful (1975), Public Relations (1977) and Stock Photographs: The Fort Worth Fat Stock Show and Rodeo (1980). At the time of his death, his late work remained undeveloped, with about 2,500 rolls of undeveloped film, 6,500 rolls of developed but not proofed exposures, and about 3,000 rolls only realized as far as contact sheets being made.Source: Wikipedia Photography is not about the thing photographed. It is about how that thing looks photographed. -- Garry Winogrand A native New Yorker, Garry Winogrand became known for his street photography blending documentary and photojournalist styles and freezing his subjects in spontaneous and bizarre moments. Winogrand typically used a wide-angle lens mounted on a Leica 35mm camera and photographed prolifically, leaving 2,500 rolls of shot but undeveloped film and 300,000 unedited images upon his death. The tilted horizon and feeling of chaos in his images belie his careful compositions concerned with capturing surface detail and energy. Winogrand believed that the act of framing and photographing something transformed it. His images are often confrontational and take moments out of context, positioning Winogrand as an outside observer of human gestures and actions. Among Winogrand’s favorite subjects were women, and he described himself as being “compulsively interested in women” and having “compulsively photographed women.” A large part of Winogrand’s images in the collection of the MoCP form part of the Women are Beautiful portfolio (1981), which was initially published as a monograph in 1975. For the monograph, John Szarkowski, curator of photography at the Museum of Modern Art in New York at the time, selected eighty-five images featuring women from hundreds of photographs by Winogrand. The resulting book offers a random collection of women caught on the street, in parks, getting into cars, at parties, marching in parades, skinny-dipping in ponds, etc. The images capture not only Winogrand’s attraction to the women he photographed, but also the styles, activities, gestures, and energies pertaining to gender in the 1960s and 1970s, an era of transition during second-wave feminism and the sexual revolution. In the monograph and in the portfolio, Winogrand wrote: “Whenever I’ve seen an attractive woman, I’ve done my best to photograph her. I don’t know if all the women in the photographs are beautiful, but I do know that the women are beautiful in the photographs.”Source: Museum of Contemporary Photography
Cristina García Rodero
Cristina García Rodero
Spain
1949
Cristina García Rodero (born 14 October 1949) is a Spanish photographer and member of Magnum Photos and Agence Vu photo agencies. García Rodero was born in Puertollano, Spain, in 1949, and studied painting at Complutense University of Madrid. She has worked as a teacher. Rodero photographs the persistence of rural traditions in modern times, such as religious rites and festivals in Spain. In Spain she is among the most celebrated documentary photographers. García Rodero joined Magnum Photos in 2005 and became a full member in 2009. The city of Puertollano, where she was born, inaugurated the Cristina García Rodero Museum in 2018. A large part of the photographer's work is exhibited there. The Cristina García Rodero Museum is located in the old municipal museum of Puertollano. There are more than 2,100 square meters distributed over three floors in which are displayed about 200 photographs of the artist.Source: Wikipedia Cristina García Rodero was born in Puertollano, Spain. She studied painting at the School of Fine Arts at the University of Madrid, before taking up photography. She then qualified as a teacher and worked full-time in education. For the next 16 years, she also dedicated her time to researching and photographing popular and traditional festivities – religious and pagan – principally in Spain but also across Mediterranean Europe. This project culminated in her book España Oculta published in 1989, which won the “Book of the Year Award” at the Arles Festival of Photography. The same year, García Rodero also won the prestigious W. Eugene Smith Foundation Prize. The documentary and ethnological value of her work are considerable, but the aesthetic quality of her photography makes it more than a simple visual record. In recent years, Cristina García Rodero has traveled around the world in search of other cultures with particular traditions. Over a period of four years, she went several times to Haiti, where she has documented voodoo rituals, producing a series of expressive portraits and moving scenes flanked by engaging documentary observations. Rituals in Haiti was shown for the first time in the 2001 Venice Biennale. Cristina García Rodero has received many prizes, including the Premio Nacional de Fotografía in 1996 in Spain. Her work has been widely published and exhibited internationally. She has published several books and has been a member of the Vu agency for more than 15 years. García Rodero joined Magnum in 2005 and became a full member in 2009.Source: Magnum Photos
David Seymour (Chim)
David Seymour (Chim)
United States
1911 | † 1956
David Seymour, also known as Chim, was a Polish-born photographer who is best known for his work as a member of the photographic cooperative Magnum Photos. He was born in 1911 in Warsaw, Poland and spent his early years studying in Germany before moving to France in 1933. Seymour's interest in photography began at a young age, and he quickly became skilled in the art of photography. He began his professional career as a photographer in Paris, working for various newspapers and magazines. In 1936, he joined the photographic cooperative Magnum Photos, which was founded by photographers Robert Capa, Henri Cartier-Bresson, and George Rodger. Chim told me not to follow too closely the advice of Capa, and Capa told me not to take any notice of Henri’s advice. So I was a bit mixed up and went to see George Rodger... and he said, “Don’t listen to any of them, only to me.” -- Marc Riboud, on joining the Magnum photo agency in 1953 As a member of Magnum Photos, David Seymour traveled extensively, capturing powerful images of people and events from around the world. He covered a wide range of subjects, including politics, war, and social issues. He was particularly known for his ability to capture the humanity of his subjects, and his images often conveyed a sense of empathy and compassion. Seymour's work as a war photographer began during World War II, when he covered the Spanish Civil War and the Second World War. He was one of the first photographers to document the horrors of the Holocaust, and his images of concentration camps and Jewish ghettos are among his most powerful and moving works. In 1948, David Seymour traveled to Palestine to cover the Arab-Israeli conflict, and his images of the fighting and the suffering of the Palestinian people helped to raise awareness of the issue around the world. He also covered the Korean War, the Suez Crisis, and the Hungarian Revolution, and his images of these conflicts were widely published in newspapers and magazines. In addition to his work as a war photographer, Seymour also documented social issues and political events. He covered the civil rights movement in the United States, and his images of the struggles of African Americans helped to raise awareness of the issue. He also covered the Cuban Revolution and the rise of Fidel Castro, and his images of the revolution and its aftermath helped to shape the way that the world viewed Cuba and its leader. Seymour's work as a photographer was widely recognized and respected during his lifetime, and he received numerous awards and honors for his contributions to the field of photography. He was a member of the French Legion of Honor, and in 1957 he was awarded the prestigious Robert Capa Gold Medal for his contributions to photojournalism. Despite his success as a photographer, Seymour's life was cut short when he was killed in 1956 while covering the Suez Crisis in Egypt. He was only 45 years old at the time of his death, but his legacy as a photographer lives on through his powerful images and his influence on the field of photojournalism. Today, Seymour's work continues to be widely admired and studied, and his images are considered to be some of the most powerful and important photographs of the 20th century. His work has been featured in numerous exhibitions and publications, and his images continue to inspire and influence photographers around the world. David Seymour Chim was a remarkable photographer who was able to capture the essence of humanity and the complexities of human nature. His photographs are moving and powerful, and his ability to document the world's most significant events and moments in history is a testament to his skill and dedication to his craft. His legacy as a photographer lives on, and his work will continue to be appreciated for generations to come.
Advertisement
AAP Magazine #59 Shapes
Win a Solo Exhibition in July
AAP Magazine #59 Shapes

Latest Interviews

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
Exclusive Interview with Anastasia Samoylova
Interview
Exclusive Interview with Anastasia Samoylova
Anastasia Samoylova is an American artist whose photographic practice is shaped by close observation and a deep attentiveness to place. Working between documentary and formal exploration, she photographs landscapes, architecture, and everyday scenes with a sensitivity to light, structure, and atmosphere. Since relocating to Miami in 2016, her work has increasingly focused on how environments—both natural and built—carry social, cultural, and emotional traces. We asked her a few questions about her practice and her way of seeing, to better understand the thoughts and experiences that shape her work—while allowing the images themselves to remain open and speak in their own time.
Read the full interview
Exclusive Interview with Marijn Fidder
Interview
Exclusive Interview with Marijn Fidder
Marijn Fidder is a Dutch documentary photographer whose work powerfully engages with current affairs and contemporary social issues. Driven by a deep sense of social justice, she uses photography to speak on behalf of the voiceless and to advocate for the rights of those who are most vulnerable. Her images have been widely published in major international outlets including National Geographic, CNN Style, NRC Handelsblad, Volkskrant, GUP New Talent, and ZEIT Magazin. Her long-term commitment to disability rights—particularly through years of work in Uganda—culminated in her acclaimed project Inclusive Nation, which earned her the title of Photographer of the Year 2025 at the All About Photo Awards. She is also the recipient of multiple prestigious honors, including awards from World Press Photo and the Global Peace Photo Award. We asked her a few questions about her life and work.
Read the full interview
Call for Entries
Win A Solo Exhibition in July
Get International Exposure and Connect with Industry Insiders
©
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.