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Win a Solo Exhibition this February. Juror: Harvey Stein
Win a Solo Exhibition this February. Juror: Harvey Stein
Stephen Hoffman
Stephen Hoffman
Stephen Hoffman

Stephen Hoffman

Country: United States

I am a documentary photographer who has who spent the last dozen years working with and photographing the people that live the housing projects in Coney Island . I mainly like to record people in their homes and places of worship. I give each person a copy of their picture. When I started this project I worked with film and would come on Saturday morning with a group of pictures and people would line at the basketball court on 24th street to see if I had their photo. Many times a mother or a sister would say that's my brother or my grandma and I would give them the picture. The projects are like one enormous family. Everyone knows everyone else. Even though I now work with digital I still make photos to give out . My greatest thrill is to go to someone's apartment and see my photos hanging on the wall.
 

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Zied Ben Romdhane
Zied Ben Romdhane (b. 1981, Tunisia) started his career as a commercial photographer. In 2011 he switched to documentary photography and photojournalism. His work has been featured in The New York Times and The Washington Post His recent exhibitions include Views of Tunisia (Arles 2013), After the Revolution (White Box, NY 2013), and Zones d’Attente (Clark House, Bombay 2013), Kushti (Maison de la Tunisie, Paris 2013), Fotofest Biennial in Houston Center for Photography (Houston , USA 2014), Sahel (1×1 Gallery, Dubai 2014), Trace (MUCEM, Marseille 2015) , Afrotopia African biennale of photography (Bamako , Mali 2017), and the Biennale of the photographs of the contemporary Arab world (France , Paris 2017). Romdhane published his first book West of Life in 2018 with Red Hook Editions. Prizes and awards include, selection for the Prize 6X6 Global Talent Program 2018 with World Press Photo Foundation, participant of Joop swart masterclass with World Press Photo, winner of the POPCAP award (Africa Image, Basel, 2015). He is the Director of Photography of Fallega (2011), a documentary film about the Arab Spring in Tunisia. Ben Romdhane was a participant in World Press Photo’s 2013 Reporting Change initiative, member of the collective “Rawiya” and “Native”. Zied Ben Romdhane joined Magnum as a nominee in 2019.Source: Magnum Photos “Zied is a documentary photographer who is using aesthetics in a tasteful way to invite the audience to his stories. His work is not pushing facts but instead he uses careful compositions that leaves room for the viewer to reflect on the images and their content.” - Rebecca Simons, Finland, independent curator, editor, educator and 6x6 nominator. Zied Ben Romdhane is a Tunisian photographer. He won the POPCAP award in 2015, and his work has been featured in Irada and Dégage. He is the Director of Photography of Fallega (2011), a documentary film about the Arab Spring in Tunisia. Romdhane was also a participant in World Press Photo’s 2013 Reporting Change initiative.Source: World Press Photo
Shin Noguchi
Japan
1976
Shin Noguchi, born 1976 in Shinjuku, Tokyo, Japan, is an award winning street photographer based in Kamakura and Tokyo, Japan. He describes his street photography as an attempt to capture extraordinary moments of excitement, humanism and beauty among the flow of everyday life. With his discreet, poetic and enigmatic approach to his art, Shin is able to capture the subtleties and complexities of Japanese culture without relying on staged, no-finder or hip shot photography. He has been invited to hold solo exhibitions in Russia, France, China (organized by Leica Camera) and other countries, and also He has been featured on The Leica Camera Blog many times, in Courrier Inte'l, Internazionale, Libération, The Guardian, The Independent, etc, and some assignment work has been also published in Die Zeit, Libération, etc. His new book "In Color In Japan" was published in Italy, and one of his works was used as key visual for FIFDH 2022: The International Film Festival and Forum on Human Rights. Currently, he has been selected for Leica Camera's new global campaign “M is M.” "The subjects tell me the meaning and value of life. To take a picture is to affirm the existence of peopleーthe human nature and karmaーand it's also an opportunity to affirm my own existence and accept it as it is." In Color in Japan From the introduction of the book: Like all good photographers, Shin Noguchi treats the camera as another appendage - a special sensory organ merging hand and eye that allows him to show us what he sees, and more subtly, how he sees. And his camera is always working. Noguchi is internationally respected as a "street photographer," but while he has won numerous prizes for his work in that genre, the appellation does not do justice to his omnivorous eye. His is just as likely to record tender moments with his family or newsworthy events like the typhoon as his encounters on the streets of Tokyo where he works, or Kamakura, where he lives. The connecting vein that runs throughout his work is a belief in the appearance of objectivity, a belief that first began to manifest when he discovered the work of the Magnum photo cooperative when he was still in his teens. It was, as he has said, the first time he realized that art and documentation could be merged. Noguchi knows perfectly well that what he shows us reflects his own sensibility and intellect but prefers to dial back the expressionistic impulse. It is an old trick in photography: make the viewer believe that had she been standing next to him she would have seen precisely what he saw. It’s also a difficult trick to pull off, particularly when the everyday world seems to be so full of surprises. In Noguchi-world, Giraffes wander about temples with Buddhist monks; workers dive into random circular openings in giant bushes, or burst from openings in blank walls as if transporting to or returning from another dimension; golf carts cluster like insects on neon-green lawns; objects possessed of more animate power than the people carrying them seem to propel their human cargo down the sidewalk instead of the opposite. In many images, goofy absurdity suddenly explodes from a sober social milieu in a way that seems to Western eyes particularly Japanese. Sentiment and affection are common themes, but the work is never sentimental. His new book, "Shin Noguchi, in Color in Japan," skates across the peaks of many of Noguchi’s favorite preoccupations (I personally have developed a fondness for his utterly adorable daughters) and one can only hope that we will get to explore his work more deeply in the future. - Chuck Patch museum curator, photographer and writer
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/
Mona Kuhn
Brazil
1969
Acclaimed for her contemporary depictions, Kuhn is considered a leading artist in the world of figurative discourse. Throughout a career spanning more than twenty years, the underlying theme of her work is her reflection on humanity's longing for spiritual connection and solidarity. As she solidified her photographic style, Kuhn created a notable approach to the nude by developing friendships with her subjects, and employing a range of playful visual strategies that use natural light and minimalist settings to evoke a sublime sense of comfort between the human figure and its environment. Her work is natural, restful, and a reinterpretation of the nude in the canon of contemporary art. For the past two decades, the Los-Angeles based artist's works have been shown steadily, revealing an astonishing consistency in technique, of subject and of purpose. In 2001, Kuhn's photographs were first seen by an influential audience during the exhibition at Charles Cowles Gallery in Chelsea, New York. Kuhn's distinct aesthetic has propelled her as one of the most collectible contemporary art photographers-her work is in private and public collections worldwide and she is represented by galleries across the United States, Europe and Asia. Kuhn was born in São Paulo, Brazil, in 1969, of German descent. In 1989, Kuhn moved to the US and earned her BA from The Ohio State University, before furthering her studies at the San Francisco Art Institute. She is currently an independent scholar at The Getty Research Institute in Los Angeles. Occasionally, Mona teaches at UCLA and the Art Center College of Design in Pasadena. Mona Kuhn's first monograph, Photographs, was debuted by Steidl in 2004; followed by Evidence (2007), Native (2010), Bordeaux Series (2011), Private (2014), and She Disappeared into Complete Silence (2018/19). In addition, Kuhn's monograph titled Bushes and Succulents has been published by Stanley/Barker Editions, with a debut at Jeu de Paume in Paris, in 2019. A stunning career retrospective of Mona Kuhn's Works has been published by Thames & Hudson, Spring 2021. Kuhn's forthcoming publication Kings Road, will be published and released by Steid this Spring 2022. Mona Kuhn's work is in private and public collections worldwide, including The J. Paul Getty Museum, Los Angeles County Museum of Art, The Hammer Museum, Perez Art Museum Miami, Museum of Fine Arts, Houston, and the Kiyosato Museum in Japan. Kuhn's work has been exhibited at The Louvre Museum and Le Bal in Paris; The Whitechapel Gallery and Royal Academy of Arts in London; Musée de l'Elysée in Switzerland; Leopold Museum in Vienna Austria, The Polygon Gallery in Vancouver Canada, Taipei Fine Arts Museum in Taiwan and Australian Centre for Photography. Mona Kuhn lives and works in Los Angeles. I'm most comfortable representing the nude as minimal and timeless. I like to cherish the body as a source of inspiration, as a platform for metaphors, for intimacy and complexities of human nature. It is my way of investigating the deepest questions about life. -- Mona Kuhn Articles Selected Works at Galeri XII Paris Paradise Lost at Jackson Fine Art Works at Galeri XII Los Angeles Between Modernism and Surrealism at Edwynn Houk Gallery
Cyrus Cornut
France
1977
Trained as an architect, the photographer's work primarily revolves around the city—its form, transformations, imprints, empty spaces, and the human behaviors it elicits. In 2006, his inaugural exploration of Chinese cities debuted at the Rencontres Internationales de la Photographie in Arles under the artistic direction of Raymond Depardon. He became a member of the Picturetank cooperative agency in 2007, remaining with them until its closure in 2017. In 2010, as part of the France 14 group, he presented "Travelling to the Outskirts," a project delving into the landscapes of mass housing in Île-de-France. Since 2011, his research has extended to the role of plants not only in the urban setting but also in rural landscapes. Presently, he is immersed in the creation of a 4x5 medium format collection, affording him a deliberate examination of urban transformations in both Asia and France. Additionally, he is engaged in a more artistic body of work, blending drawing, engraving, and photography. AWARDS and RESIDENCIES Winner Prix HSBC 2021 Shortlisted for the Camera Clara award, 2020 Mutation Residency. Transit/ Montpellier city 2019 ND Award 2018 1rst price. Shortlisted for the Camera Clara award, 2018 1rst price Singularlens 2018 Laureate of the « Albums du Muséum National d’Histoire Naturelle » grant, 2014 Laureate visa de l’ANI 2012, Promenades Photographiques de Vendôme Shorlisted at the HSBC photography award, 2011 Laureate of the Visas de l’ANI, 2006 Villa Tamaris residency, Seyne sur Mer, 2006 CHONGQING, on the four shores of passing times Chongqing municipality, People’s Republic of China, population of 34 million. One of the world’s highest demographic and economic growth rates. The central urban area of 15 million souls is infused by almost 300 000 newcomers every year. Chongqing, the ''Mountain City,'' at the confluence of the Yangtze and Jialang Rivers, struggles to break through the fog that covers it all year long. Heir to the displaced from the Three Gorges dam and daughter to the Beijing authorities – who upgraded her to a municipality, raising her up to the same heights as her big sisters on the East coast – Chongqing has developed at a dizzying speed. Urban forms and infrastructure have sprung up, gravity-defying, embracing the shorelines of its four banks, each of them steeply carved out by the current of the water. The speed of urbanization has outperformed overtaken the slow rhythm of the fishermen, the erosion of the rivers, the powerful hatching of the mountains. The uninterrupted dance of the cranes and the excavators stack people ever higher in an unsettling quickness. No obstacle remains to stop the skyscrapers from surging up. They reproduce themselves almost identically, like metastases. The transport networks cross the water, pierce through the rock, and climb the hills, defiant of the power of the elements. The river has become the artery that the makes beat an economic heart that is resolutely turned towards the economic conquest of the West by way of the new silk road. Only the banks, almost wild, resist, remaining allied with the river and its caprices. People sitting on its embankments watch it meander, watch their sightlines get blocked out and its banks grow thicker. Here and there they still cultivate a few food-producing gardens while they wait fatalistically for the last bits of bare land to disappear.
Leslie Gleim
United States
1955
Leslie Gleim is a Honolulu-based fine art photographer known for her distinctive visual narratives created through aerial and macro perspectives. Her ongoing work seeks to understand the complex relationships and tensions between the natural, climatic, and human impacts upon the Hawaiian ʻāina (land). With a particular focus on the volcanic ecology of Hawai’i, she captures the regenerative and dynamic process shaped by the volcanic activity and explores the profound changes that are created by those powerful forces on the ʻāina. By documenting this delicate balance between nature and human influence, she hopes to inspire and provoke thoughtful dialogue about environmental stewardship of our planet. Leslie's work has been widely exhibited and published locally, nationally, and internationally. Her work Life Of The Land was recently purchased into the Art in Public Places Collection of the Hawai’i State Foundation on Culture and the Arts. Artist Statement "Life Of The Land” In 2017, I became curious about the volcanic activity on Hawai’i Island and chartered my first helicopter flight over Kīlauea’s Halemaʻumaʻu crater. Struck by the volcanic power and the resilience of the land, that flight marked the beginning of a photographic narrative documenting the life of the land. Ancient lava flows, cones, and fissures etch themselves eloquently across the landscapes of Hawaiʻi, their presence akin to pages torn from an ancestral geological journal spanning millennia. Each formation reveals a fragment of Hawai’i's narrative (mo’olelo), bearing witness to its evolution and adaptation, each element telling a tale of resilience and renewal. The photographs are not merely snapshots of geological features; they are windows into the soul of the land, revealing the timeless forces that have shaped the landscape. Each image is freshly written onto the pages of a present-day journal that provides the reader/viewer with both historical and current insights into the story of the land. Simultaneously, it unveils the volcanic cleansing and birthing processes that shapes the ‘aina (land), giving rise to new landscapes from its apocalyptic beginnings. Are we witnessing glimpses of a future defined or foretold in the Anthropocene era? As we confront the challenges of environmental degradation and climate change, these photographs serve as reminders of the delicate balance between humanity and nature. What stories will endure for future generations, and what legacies will we leave behind?
Keith Carter
United States
1948
Keith Carter is an American photographer who is known for his dreamlike black and white photographs of the figure, animals, and meaningful objects. He began photographing new and unknown realities in his native East Texas environment. This setting, with heavy folklore, religious, and cultural motifs, inspired Carter to create some of his most iconic images. Since his start in Texas, his work continues to push imaginative realms in his travels within the United States and across oceans. In 1970, Carter earned a Business Management degree from Lamar University and began his career as a commercial photographer while working on personal projects. These personal projects have resulted in a long career and over twelve published monographs. Carter currently teaches photography at Lamar University as a Distinguished Faculty Lecturer. He travels worldwide providing photography lectures and workshops for artists. Carter's fine art career has made him the recipient of an array of awards such as the 2009 Texas Medal of Arts, 2009 Artist of the Year presented by the Art League Houston and, in 1991 the Center for Documentary Studies at Duke University presented Carter with the Lange-Taylor Prize. His work has also been featured in print and online publications, television, and film. In 2006, the Anthropy Arts in New York filmed a documentary about Carter's photographic work, and in 1997 CBS made an art segment on Carter's work for public television. He has extensively exhibited his work throughout the world and participated in over 100 solo exhibitions. Permanent collections of his work can be found in many private and public institutions including the San Francisco Museum of Modern Art, the George Eastman House, the Museum of Fine Arts, Houston, Dallas Museum of Art, the Amon Carter Museum of American Art, the Smithsonian American Art Museum, and the Art Institute of Chicago.
Martín Chambi
Peru
1891 | † 1973
Martín Chambi Jiménez was a Peruvian photographer, originally from southern Peru. He was one of the first major Indigenous Latin American photographers. Recognized for the profound historic and ethnic documentary value of his photographs, he was a prolific portrait photographer in the towns and countryside of the Peruvian Andes. As well as being the leading portrait photographer in Cuzco, Chambi made many landscape photographs, which he sold mainly in the form of postcards, a format he pioneered in Peru. In 1979, New York's Museum of Modern Art held a Chambi retrospective, which later traveled to various locations and inspired other international expositions of his work. Martín Chambi was born into a Quechua-speaking peasant family in one of the poorest regions of Peru, at the end of the nineteenth century. When his father went to work in a Carabaya Province gold mine on a small tributary of the River Inambari, Martin went along. There he had his first contact with photography, learning the rudiments from the photographer of the Santo Domingo Mine near Coaza (owned by the Inca Mining Company of Bradford, Pa). This chance encounter planted the spark that made him seek to support himself as a professional photographer. With that idea in mind, he headed in 1908 to the city of Arequipa, where photography was more developed and where there were established photographers who had taken the time to develop individual photographic styles and impeccable technique. Chambi initially served as an apprentice in the studio of Max T. Vargas, but after nine years set up his own studio in Sicuani in 1917, publishing his first postcards in November of that year. In 1923 he moved to Cuzco and opened a studio there, photographing both society figures and his Indigenous compatriots. During his career, Chambi also traveled the Andes extensively, photographing landscapes, Inca ruins, and local people. Chambi began his work as a photographer as an apprentice to Max T. Vargas in Arequipa, Peru. During this time as an apprentice, Chambi learned different ways of manipulating light for portraits in the studio. His daughter, Julia Chambi, is quoted as saying, "my father was enchanted by light." His studio in Cuzco included a set of blinds and shutters made specifically so that he could alter the natural lighting to best suit his photographs. Furthermore, most of Chambi's photos of Indigenous people were taken outside so that he could use only natural lighting. Chambi produced a variety of works over his career as a photographer. Within the studio, he took many portraits of both wealthy and elite members of society, as well as the Indigenous people; he also took many self-portraits. Chambi is well-known for his work in documenting the Indigenous culture, including Machu-Picchu and other ruins. In a magazine interview in 1936, he is quoted saying "in my archive I have more than two hundred photographs of diverse aspects of the Quechua culture." He took pictures of ruins and architecture, but also tried to capture the events of everyday life. With regard to Chambi's diverse work, Jorge Heredia once said, "He has been the photographer of whites who seek after his images, but also of Indians and Mestizos." In addition to taking photographs for individual commissions or for his own personal interests, Chambi also used his photographs in other publications. One such publication was the use of his photographs in postcards. The other main use for his photographs was in a weekly Argentine newspaper called La Nación ("The Nation") where he contributed photographs of artists, writers, and any other assignments he was commissioned to do. Chambi traveled to Chile to exhibit some of his artworks and used his artistic skills to allow the audience to understand how the photographer prioritized the Indigenous outcome that relates to the Peruvians and the Chileans. There were some arguments that the two countries disagreed with each other when involving the differences of race, indigeneity, and civilization. The photographer managed to redevelop the process through his artwork, letting the viewers and art critics to understand these types of political issues that concern the Chileans and the Peruvians. The Peruvians were able to accept Indigenous people from various countries, but the Chileans did not accept them because of the 'pacification' campaigns of the late 19th century. The Mapuche leaders discuss educational benefits; however, they were dealing with some problems with governmental authorities that involves Chile and Peru. Chambi was determined to debunk racial stereotypes, but often up reinforcing them. El Sol, La Nacion, and other news critics prioritize the photographer's artwork because it would enable them to discuss national boundaries and open up ideological debate. Eighty-eight images by Peruvian photographer Martin Chambi have been added to the archives of the famous Instituto Moreira Salles (IMS) in Brazil. It gives the public an opportunity to discover one of the first major, indigenous Latin American photographers. Face Andina features nearly 90 photographs and 23 postcards of studio portraits and the urban and rural landscapes of Cuzco, Arequipa and Puno.Source: Wikipedia
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All About Photo Awards 2026
Win a Solo Exhibition in February
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Call for Entries
All About Photo Awards 2026
$5,000 Cash Prizes! Juror: Steve McCurry