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Tom Price
Tom Price
Tom Price

Tom Price

Country: Wales
Birth: 1985

Tom Price is an award-winning photographer, filmmaker and writer based in east London, with over a decade of experience working on commercial, editorial and not-for-profit projects for organisations such as the NHS, Airbnb and Save the Children.

His work focuses on telling important stories and highlighting social phenomena - previous short-form projects have ranged from documenting the largest dance festival in the world to critical humanitarian crises, such as food insecurity in South Sudan and typhoon Haiyan in the Philippines.

His work has been exhibited in Latin America, Europe and the USA; projected onto the side of the Tate Modern in London and presented at the UN headquarters in New York.

Recently, he has exhibited at Helsinki Photo Festival 2021, Berlin Photo Week 2021, and was awarded first place and 'photographer of the year' at All About Photo awards 2021, 1st place International Photo Awards 2021 and longlisted for the BBA Photography Prize, Berlin.

Exclusive Interview with Tom Price
The Stunning Winning Images of All About Photo Awards 2021

Websites

tomalprice.com

@tomalprice

 

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More Great Photographers To Discover

Pieter Henket
Pieter Henket
The Netherland
1979
Pieter Henket is a Dutch photographer living and working in New York City. His notable work includes shooting the cover of Lady Gaga’s debut album The Fame, and photographing National Congolese acting out their mythologies in the Congo rainforest for the book Congo Tales published by Random House / Prestel Publishing in 2018. He is known for a photographic style that takes inspiration from the 17th-century Dutch Golden Age of painting. Henket was born in Geldrop, Netherlands. He is the son of the Dutch architect Hubert-Jan Henket and the nephew of the Dutch photographer Bertien van Manen. After high school in the Netherlands, Henket moved to the States to take a three-month film course at the New York Film Academy, followed by a documentary-film-making course at the NYU film school. Shortly after, Henket got his start by interning for director Joel Schumacher. In 1999, he worked on the set of the film Flawless, starring Robert De Niro and Philip Seymour Hoffman. He had a long-time collaboration with recording artist and producer Ryan Leslie. He has worked with celebrities such as Anjelica Huston, Mary-Kate Olsen, Sir Ben Kingsley, Kristen Stewart and Lady Gaga for whose debut album The Fame Henket shot. In 2010, the iconic image was presented at the American Woman exhibition at the Metropolitan Museum of Art in New York. In 2015 Henket was commissioned by Tales of Us in Berlin to photograph Congolese from the Mbomo District acting out their mythologies in the Odzala Kokoua National Park for the book Congo Tales. Source: Wikipedia About Congo Tales In the deep heart of Africa lies a tropical rainforest second only in size to the Amazon – the Congo Basin. It measures 500 million acres, spans 6 nations, and is home to some of the largest swaths of intact tropical rainforest in the world, with the pristine Odzala Kokoua National Park as the crown jewel. Known to ecologists as the world’s second lung, the Congo Basin is the Earth’s other Amazon – as vital to preventing runaway Climate Change as the Brazilian rainforest and as vulnerable to deforestation and abuse. Yet the Congo Basin falls far short of the Amazon when it comes to the world’s awareness of it as a major player in the global environment, a cathedral of nature’s treasures, and a stopgap against looming ecological catastrophe. Published in 2018 by Prestel, Congo Tales is intended to help solve this lack of awareness, and help create a conservation infrastructure for this critical pillar of the world’s fragile ecological balance. Upturning the traditional conventions of fear-based environmental messaging and the portrayal of Africa solely as a place of plague and war, Congo Tales takes a completely different approach to communicating the urgency of conservation efforts in this region. Channeling the primal heartbeat of one of the world’s most powerful ecosystems and the people who call it home, the mythological tales of the Congolese – of supernatural forces in control of life and death, of ritualistic initiations into adulthood, of the laws of nature that lie outside the laws of people – are revealed as a treasure trove of universal wisdom that is both existential and pragmatic, with the unspoiled Odzala Kokoua National Park as stage and actor.Source: The Independant Photographer
Lesia Maruschak
Lesia Maruschak
Canada
1961
Lesia Maruschak is a Canadian artist of Ukrainian descent. She holds a MA from the University of Saskatchewan, and a MBA from the University of Ottawa. She studied Fine Art in the US and Romania. Maruschak creates narrative-specific installations that include static and moving images and hard and soft sculptural elements. They explore the histories of colonized peoples and their manifestations of geopolitical shifts. These organic systems pivot on historic atrocities, creating immersive spaces facilitating audience engagement. This offering explores how the spaces between and within us—lived experience, memory, and perception—are mediated and reverberate. Her series often include intricate and highly coveted limited edition art books, fine art photographs and touring exhibitions. Maruschak current project Poems of Our Children explores the plight of children impacted trauma funded by the Canada Council of the Arts. She is also currently completing two books concerning Canada’s first world war internment operations funded by the Canada First World War Internment Recognition Endowment Council. Select Collections The National Art Library, Victoria and Albert Museum Thomas Watson Library at the Metropolitan Museum of Art Maison Européenne de la Photographie Boston Athenaeum City of Ottawa Art Collection David M. Rubenstein Rare Book & Manuscript Library at Duke University Green Library-Special Collections at Stanford University Rare Books & Special Collections at the Library of Congress Butler Library-Special Collections at Columbia University About Project MARIA Project MARIA memorializes the millions of victims of the 1932-33 genocide-famine in Soviet Ukraine. It functions as a mobile multimedia installation and includes artwork, film, and performance, inspired by a single vernacular photograph of a young girl, Maria F., who survived the Holodomor and currently resides in Canada. Holodomor refers to the genocide manufactured by Stalin and the Politburo in Soviet Ukraine during 1932-1933. Despite an estimated death toll of over four million by forced starvation the Holodomor, remains largely ignored in the context of global genocides. Project MARIA has been shortlisted for numerous awards and won over 13 including 12th Pollux Award Human Rights and Segregation (2018), Director’s Choice CENTER Review Santa Fe (2019), Landskrona Foto (2020), 16th Julia Margaret Cameron Segregation and Human Rights (2021), and FORMAT22 Director’s Review (2022). Its exhibition record includes 11 solo and more than 15 group exhibitions, in seven countries (2018-2023). Project MARIA recognized by the National Holodomor Genocide Museum, Kyiv, as the most important exhibition on the Holodomor premiered there in 2020. Its multi-city tour of Ukraine which included the LVIV History Museum and the Henryk Siemiradzki Art Gallery, Karazin University, Kharkiv, was interrupted by Russia’s aggression. The tour will recommence this Fall at the Vinnytsia Regional Museum. Other international solo exhibitions include Musée Ukraina Museum, Saskatoon; Turchin Centre for the Visual Arts, Boone; Objectif Femmes, Paris; and the Embassy of Ukraine in the Kingdom of Sweden, Stockholm.
Hana Peskova
Hana Peskova
Czech Republic
1967
Hanka Peskova - passionate self-taught photographer whose journey began at the renowned Skola Kreativni Fotografie in Prague. In 2021, she was honored with the prestigious International Title of Excellence FIAP (EFIAP) by the FIAP (Artiste de la Fédération Internationale de l'Art Photographique), a testament to her artistic prowess and dedication to the craft. Nestled in the picturesque town of Cesky Krumlov, Czech Republic, she has turned the globe into her canvas, capturing the ephemeral beauty and indescribable energy of moments and people. Her work transcends the mere act of memory preservation to unveil the essence of life itself, through the eye of her camera. As a freelance photographer, her lens has intimately explored the vibrancy of street and documentary photography for years. With a focus on the tapestry of social life, her work dives deep into the heart of ordinary life, cultural narratives, and contemporary issues. She possesses a unique attraction to the narratives of old, the allure of isolated places, and the stories of people living beyond the limelight. Her photography is not just a window to the world but an invitation to view it through her unique perspective. Capturing not only the bustling life on the streets and the untouched facets of nature, she also ventures into the realm of creative photography. Each frame is a story, a whisper of the past or a shout of the present, always aiming to evoke emotion and provoke thought. AAP Magazine AAP Magazine 38 Women
Cayetano González
Cayetano González
Spain
1986
My grandparents met during their studies in the University of Fine Arts in Valencia. Most of my close relatives work in the field of visual arts. On my behalf, I've always wanted to be a painter, and was fascinated by many artists: Sorolla, Velázquez, Rembrandt, Delacroix... During High School I had the opportunity to work on a short film for one of the courses, I then realised I wanted to work in the film industry. In 2006 I started my adventure. I studied Film in Valencia, and afterwards worked as a freelancer in a television production company for a year. At that time everything we did was recorded on tapes, and the cinematography quality I was searching for was unattainable. Fortunately, my grandfather lent me his Leica and everything changed. I slowly began learning how to use different cameras and I knew I had found my calling. Before even realising it I was already working as a photographer. I knew (or at least I thought I knew) how to use a camera, but not what to express with it, I needed to expand my knowledge of Art and extend my perspective. I began my studies in Fine Arts, and it was one of the best decisions I have ever made. I still don't know the meaning of Art, fully, but I was able to learn what people could achieve thanks to having artistic values. During the last two years of my Arts studies I concentrated on Contemporary Art, Film and Photography. When I finished I wanted to specialise in Cinematography and decided to move to Barcelona to study a Masters in Cinematography in ESCAC (Superior School of Cinema of Catalonia). Since then I'm based in Barcelona and my work is focused mainly on Photography and Cinematography. I also teach workshops specialised in natural light and try to direct my work towards a more natural feel, creating atmospheres that recall the painters I've always admired. About Light In 2016, after years of studying arts and photography I decided I wanted to specialise in natural light. I wanted to learn everything I could about it, so I began to research and practice, studying from artists starting from the 15th century until today. This research evolved in a personal project called "aboutlight", shot with natural light, about beauty, femininity, loneliness, melancholy and any type of feeling you can transmit while in a state of calm. I'm currently teaching and learning constantly, improving and making others improve. It's this combination that's helping me grow and develop my skills day to day. Find out more in his exclusive interview
Jaclyn Cori
Jaclyn Cori
United States
1968
Cori is a lens-based storyteller. With a B.A. in English and an M.F.A. in Photography she combines the two specializations to create visual narratives. Fact, fiction and poetry intermix to address the evolving nature of self and family. Dreams and nightmares coexist. As the participant observer she balances on the tightrope between seeing and being. Living and working in Savannah, Georgia, she is the mother of fraternal twin daughters and a Professor of Photography at The Savannah College of Art and Design. Cori teaches Lightroom, Darkroom, Portfolio Building and Book Making. She is included in Who's Who Among American Teachers and quoted in ''Teaching Photography: Tools for the Imaging Educator''. Selected publications include ''The View Project'', F-Stop magazine, Art Ascent, Art Square New York, and ''Eye Mama: Poetic Truths of Home and Motherhood''. Born on the Same Day Born on the Same Day reflects the separation and interdependence of fraternal twin girls. By the taking on and discarding of roles, it is the discovery of their world through free play and fantasy. They embrace the life-long process of understanding themselves and each other. Every morning they open their eyes and there is ''the other one'', their twin, their castmate. Everything around them began the same, yet they are entirely unique. Snow White, draped in Rapunzel's hair, cascades down the stairs. The other child, who refuses to wear clothes, sits on a stool examining a wounded knee. Snow White, donning a veil like Mother Teresa's, twirls towards her twin to get a glance. Her gesture, the transition of separateness to closeness is her own, but also an empathic gift to her sister, and a serendipitous moment for her mother photographer. They weave a tale of drama, comedy, and tragedy. They dance together, push apart, run away and always return to dance together again. One moment they hate each other and the next they are giggling behind a closed bedroom door. Their story began with me soothing their booboos, providing costumes, and always being the safe haven. As princess costumes turned into gymnastics competitions and pointe shoes, simply kissed wounds have been replaced with the joys and sorrows of fantasy falling away. They sob, they scream, they triumph and fail, creating a space in a bigger world and turning to each other to be understood and accepted. Sometimes I cry. Often, I laugh. I console. I advise. I feel their suffering and strength, working to lessen the former and develop the latter. And all the while I make photographs, having also become the archivist of their childhood, creating a lyrical, vivid family album as unique as each twin.
Thierry Clech
Thierry Clech
France
Thierry Clech is a French photographer based in Paris. Much of his work (exclusively in black & white films) is made during his travels (India, Ukraine, Istanbul, Tokyo...), but he also takes pictures in France, particulary in the business district of La Défense, near Paris. He published two books in collaboration with French novelists (Philippe Jaenada and Bernard Chambaz) and his work has been exhibited widely in France and abroad (Nadar Gallery, Press Club of France, Barrobjectif Festival, National Library of Belarus, FotoIstanbul Festival, BlowUp Angkor Festival in Cambodia…).Artist statement: "Thierry Clech can see the world like nobody else. In any case, he manages to put the world rules inside the frame of his pictures. Fortunately or thanks to his instinct or I don't know how, he is often in the right place at the right time. He could have probably stayed in Paris, within the ring road, within the twenty districts of his garden, and almost get the same result - because a man is a man, wherever he is. But the world is not so wide, it was better to travel around it. Just to be absolutely sure. Go around it. Then he has been nearly everywhere on the globe, almost at random, he has stopped a few moments in a city of the northern hemisphere, by a field in the southern hemisphere, and he has come back with pictures which approximately show the same thing in the form or in substance : human beings in the heart of their environment, stuck in the setting, stifled, trapped or integrated, assimilated but not totally, always isolated, just like oil in water, anxious, absent-minded, busy or passive, fearful, overtaken by events, brave, rebellious, lost, determined or exhausted. Mankind in the setting." Philippe Jaenada, novelist, Chevalier de l'Ordre des arts et des lettres. Discover Saint Louis in Senegal
Alfred Stieglitz
Alfred Stieglitz
United States
1864 | † 1946
Through his activities as a photographer, critic, dealer, and theorist, Alfred Stieglitz had a decisive influence on the development of modern art in America during the early twentieth century. Born in 1864 in New Jersey, Stieglitz moved with his family to Manhattan in 1871 and to Germany in 1881. Enrolled in 1882 as a student of mechanical engineering in the Technische Hochschule (technical high school) in Berlin, he was first exposed to photography when he took a photochemistry course in 1883. From then on he was involved with photography, first as a technical and scientific challenge, later as an artistic one. Returning with his family to America in 1890, he became a member of and advocate for the school of pictorial photography in which photography was considered to be a legitimate form of artistic expression. In 1896 he joined the Camera Club in New York and managed and edited Camera Notes, its quarterly journal. Leaving the club six years later, Stieglitz established the Photo-Secession group in 1902 and the influential periodical Camera Work in 1903. In 1905, to provide exhibition space for the group, he founded the first of his three New York galleries, The Little Galleries of the Photo-Secession, which came to be known as Gallery 291. In 1907 he began to exhibit the work of other artists, both European and American, making the gallery a fulcrum of modernism. As a gallery director, Stieglitz provided emotional and intellectual sustenance to young modernists, both photographers and artists. His Gallery 291 became a locus for the exchange of critical opinions and theoretical and philosophical views in the arts, while his periodical Camera Work became a forum for the introduction of new aesthetic theories by American and European artists, critics, and writers. After Stieglitz closed Gallery 291 in 1917, he photographed extensively, and in 1922 he began his series of cloud photographs, which represented the culmination of his theories on modernism and photography. In 1924 Stieglitz married Georgia O'Keeffe, with whom he had shared spiritual and intellectual companionship since 1916. In December of 1925 he opened the Intimate Gallery; a month later Duncan Phillips purchased his first works from Stieglitz’s gallery, paintings by Dove, Marin, and O'Keeffe. In 1929 Stieglitz opened a gallery called An American Place, which he was to operate until his death. During the thirties, Stieglitz photographed less, stopping altogether in 1937 due to failing health. He died in 1946, in New York. The Collection contains nineteen gelatin-silver photographs of clouds by Stieglitz.Source: The Phillips Collection My photographs are a picture of the chaos in the world, and of my relationship to that chaos. My prints show the world’s constant upsetting of man’s equilibrium, and his eternal battle to reestablish it. -- Alfred Stieglitz In early June 1918, O'Keeffe moved to New York from Texas after Stieglitz promised he would provide her with a quiet studio where she could paint. Within a month he took the first of many nude photographs of her at his family's apartment while his wife Emmy was away, but she returned while their session was still in progress. She had suspected something was going on between the two for a while, and told him to stop seeing her or get out. Stieglitz left and immediately found a place in the city where he and O'Keeffe could live together. They slept separately for more than two weeks, but by the end of July they were in the same bed together. Once he was out of their apartment Emmy had a change of heart. Due to the legal delays caused by Emmy and her brothers, it would be six more years before the divorce was finalized. During this period Stieglitz and O'Keeffe continued to live together, although she would go off on her own from time to time to create art. Stieglitz used their times apart to concentrate on his photography and promotion of modern art. O'Keeffe was the muse Stieglitz had always wanted. He photographed O'Keeffe obsessively between 1918 and 1925 in what was the most prolific period in his entire life. During this period he produced more than 350 mounted prints of O'Keeffe that portrayed a wide range of her character, moods and beauty. He shot many close-up studies of parts of her body, especially her hands either isolated by themselves or near her face or hair. O'Keeffe biographer Roxanna Robinson states that her "personality was crucial to these photographs; it was this, as much as her body, that Stieglitz was recording." In 1920, Stieglitz was invited by Mitchell Kennerly of the Anderson Galleries in New York to put together a major exhibition of his photographs. In early 1921, he hung the first one-man exhibit of his photographs since 1913. Of the 146 prints he put on view, only 17 had been seen before. Forty-six were of O'Keeffe, including many nudes, but she was not identified as the model on any of the prints. In 1922, Stieglitz organized a large show of John Marin's paintings and etching at the Anderson Galleries, followed by a huge auction of nearly two hundred paintings by more than forty American artists, including O'Keeffe. Energized by this activity, he began one of his most creative and unusual undertakings – photographing a series of cloud studies simply for their form and beauty. He said: "I wanted to photograph clouds to find out what I had learned in forty years about photography. Through clouds to put down my philosophy of life – to show that (the success of) my photographs (was) not due to subject matter – not to special trees or faces, or interiors, to special privileges – clouds were there for everyone…" By late summer he had created a series he called "Music – A Sequence of Ten Cloud Photographs". Over the next twelve years he would take hundreds of photographs of clouds without any reference points of location or direction. These are generally recognized as the first intentionally abstract photographs, and they remain some of his most powerful photographs. He would come refer to these photographs as Equivalents. Stieglitz's mother Hedwig died in November 1922, and as he did with his father he buried his grief in his work. He spent time with Paul Strand and his new wife Rebecca (Beck), reviewed the work of another newcomer named Edward Weston and began organizing a new show of O'Keeffe's work. Her show opened in early 1923, and Stieglitz spent much of the spring marketing her work. Eventually, twenty of her paintings sold for more than $3,000. In the summer, O'Keeffe once again took off for the seclusion of the Southwest, and for a while Stieglitz was alone with Beck Strand at Lake George. He took a series of nude photos of her, and soon he became infatuated with her. They had a brief physical affair before O'Keeffe returned in the fall. O'Keeffe could tell what had happened, but since she did not see Stieglitz's new lover as a serious threat to their relationship she let things pass. Six years later she would have her own affair with Beck Strand in New Mexico. In 1924, Stieglitz's divorce was finally approved by a judge, and within four months he and O'Keeffe married in a small, private ceremony at Marin's house. They went home without a reception or honeymoon. O'Keeffe said later that they married in order to help soothe the troubles of Stieglitz's daughter Kitty, who at that time was being treated in a sanatorium for depression and hallucinations. For the rest of their lives together, their relationship was, as biographer Benita Eisler characterized it, "a collusion ... a system of deals and trade-offs, tacitly agreed to and carried out, for the most part, without the exchange of a word. Preferring avoidance to confrontation on most issues, O'Keeffe was the principal agent of collusion in their union." In the coming years O'Keeffe would spend much of her time painting in New Mexico, while Stieglitz rarely left New York except for summers at his father's family estate in Lake George in the Adirondacks, his favorite vacation place. O'Keeffe later said "Stieglitz was a hypochondriac and couldn't be more than 50 miles from a doctor." The great geniuses are those who have kept their childlike spirit and have added to it breadth of vision and experience. -- Alfred Stieglitz At the end of 1924, Stieglitz donated 27 photographs to the Boston Museum of Fine Arts. It was the first time a major museum included photographs in its permanent collection. In the same year he was awarded the Royal Photographic Society's Progress Medal for advancing photography and received an Honorary Fellowship of the Society. In 1925, Stieglitz was invited by the Anderson Galleries to put together one of the largest exhibitions of American art, entitled Alfred Stieglitz Presents Seven Americans: 159 Paintings, Photographs, and Things, Recent and Never Before Publicly Shown by Arthur G. Dove, Marsden Hartley, John Marin, Charles Demuth, Paul Strand, Georgia O'Keeffe and Alfred Stieglitz. Only one small painting by O'Keeffe was sold during the three-week exhibit. Soon after, Stieglitz was offered the continued use of one of the rooms at the Anderson Galleries, which he used for a series of exhibitions by some of the same artists in the Seven Americans show. In December 1925, he opened his new gallery, The Intimate Gallery, which he nicknamed The Room because of its small size. Over the next four years, he put together sixteen shows of works by Marin, Dove, Hartley, O'Keeffe and Strand, along with individual exhibits by Gaston Lachaise, Oscar Bluemner and Francis Picabia. During this time, Stieglitz cultivated a relationship with influential new art collector Duncan Phillips, who purchased several works through The Intimate Gallery. In 1927, Stieglitz became infatuated with the 22-year-old Dorothy Norman, who was then volunteering at the gallery, and they fell in love. Norman was married and had a child, but she came to the gallery almost every day. O'Keeffe accepted an offer by Mabel Dodge to go to New Mexico for the summer. Stieglitz took advantage of her time away to begin photographing Norman, and he began teaching her the technical aspects of printing as well. When Norman had a second child, she was absent from the gallery for about two months before returning on a regular basis. Within a short time, they became lovers, but even after their physical affair diminished a few years later, they continued to work together whenever O'Keeffe was not around until Stieglitz died in 1946. In early 1929, Stieglitz was told that the building that housed The Room would be torn down later in the year. After a final show of Demuth's work in May, he retreated to Lake George for the summer, exhausted and depressed. The Strands raised nearly sixteen thousand dollars for a new gallery for Stieglitz, who reacted harshly, saying it was time for "young ones" to do some of the work he had been shouldering for so many years. Although Stieglitz eventually apologized and accepted their generosity, the incident marked the beginning of the end of their long and close relationship. In the late fall, Stieglitz returned to New York. On December 15, two weeks before his sixty-fifth birthday, he opened An American Place, the largest gallery he had ever managed. It had the first darkroom he had ever had in the city. Previously, he had borrowed other darkrooms or worked only when he was at Lake George. He continued showing group or individual shows of his friends Marin, Demuth, Hartley, Dove and Strand for the next sixteen years. O'Keeffe received at least one major exhibition each year. He fiercely controlled access to her works and incessantly promoted her even when critics gave her less than favorable reviews. Often during this time, they would only see each other during the summer, when it was too hot in her New Mexico home, but they wrote to each other almost weekly with the fervor of soul mates. In 1932, Stieglitz mounted a forty-year retrospective of 127 of his works at The Place. He included all of his most famous photographs, but he also purposely chose to include recent photos of O'Keeffe, who, because of her years in the Southwest sun, looked older than her forty-five years, in comparison to Stieglitz's portraits of his young lover Norman. It was one of the few times he acted spitefully to O'Keeffe in public, and it might have been as a result of their increasingly intense arguments in private about his control over her art. Later that year, he mounted a show of O'Keeffe's works next to some amateurish paintings on glass by Becky Strand. He did not publish a catalog of the show, which the Strands took as an insult. Paul Strand never forgave Stieglitz for that. He said, "The day I walked into the Photo-Secession 291 [sic] in 1907 was a great moment in my life… but the day I walked out of An American Place in 1932 was not less good. It was fresh air and personal liberation from something that had become, for me at least, second-rate, corrupt and meaningless." In 1936, Stieglitz returned briefly to his photographic roots by mounting one of the first exhibitions of photos by Ansel Adams in New York City. The show was successful and David McAlpin bought eight Adams photos. He also put on one of the first shows of Eliot Porter's work two years later. Stieglitz, considered the "godfather of modern photography", encouraged Todd Webb to develop his own style and immerse himself in the medium. The next year, the Cleveland Museum of Art mounted the first major exhibition of Stieglitz's work outside of his own galleries. In the course of making sure that each print was perfect, he worked himself into exhaustion. O'Keeffe spent most of that year in New Mexico. In early 1938, Stieglitz suffered a serious heart attack, one of six coronary or angina attacks that would strike him over the next eight years, each of which left him increasingly weakened. During his absences, Dorothy Norman managed the gallery. O'Keeffe remained in her Southwest home from spring to fall of this period. In the summer of 1946, Stieglitz suffered a fatal stroke and went into a coma. O'Keeffe returned to New York and found Dorothy Norman was in his hospital room. She left and O'Keeffe was with him when he died. According to his wishes, a simple funeral was attended by twenty of his closest friends and family members. Stieglitz was cremated, and, with his niece Elizabeth Davidson, O'Keeffe took his ashes to Lake George and "put him where he could hear the water." The day after the funeral, O'Keeffe took control of An American Place.Source: Wikipedia Image:All images © Library of Congress, Prints & Photographs Division, The Alfred Stieglitz Collection, Gift of Georgia O'Keeffe
Cathleen Naundorf
Cathleen Naundorf
France/Germany
Cathleen Naundorf is a French German photographer. In the late 1980s, she graduated from photography studies in Munich. She worked as a photo assistant in New York, Singapore and Paris in the following years, before she started traveling in 1993 to such destinations as Mongolia, Siberia, Gobi Desert and the Amazonas headwaters in Brazil. The results of these insightful pictures have been included in eight publications of renowned publishing houses. Inspired by her encounter of and longstanding friendship with Horst P. Horst, Cathleen Naundorf early on turned to fashion photography. As of 1997, she started photographing backstage Paris fashion shows for Condé Nast. Since 2005, Cathleen Naundorf has worked on her haute couture series “Un rêve de mode” focusing on seven couture houses : Chanel, Dior, Gaultier, Lacroix, Saab, Valentino and Philip Treacy. Thanks to her outstanding pictures, Cathleen Naundorf got the privilege to choose gowns from the couturiers’ archives for her elaborate and cinematic productions. This work got published in "The Polaroids of Cathleen Naundorf", Prestel Edition, 2012.She works with large format cameras like Plaubel or Deardorff for her shootIngs and use mostly Polaroid or negative films. Cathleen Naundorf is working passionately on Haute Couture and Luxury Prêt-à-Porter. Her work got published in magazines like Harper's Bazaar, Tatler, VS Magazine or American Express.Cathleen Naundorf's work is represented by the Hamiltons Gallery in London.
Luigi Ghirri
Luigi Ghirri
Italy
1943 | † 1992
Luigi Ghirri, born on January 5, 1943, in Scandiano, Emilia-Romagna, Italy, was a trailblazing photographer renowned for his innovative use of color. Ghirri's early life in this picturesque region profoundly influenced his artistic vision. Initially trained as a surveyor, he began experimenting with photography in the early 1970s, a time when the medium was predominantly monochrome and used mainly for documentation and advertising. Ghirri diverged from the norm by embracing color photography as a legitimate artistic form. His work delved into the social and cultural changes sweeping through Italy during the 1970s, particularly the infiltration of advertising and the rise of leisure activities. His images often feature everyday scenes, landscapes, and urban environments, infused with a sense of nostalgia and contemplation. He had an uncanny ability to find beauty in the mundane, transforming ordinary moments into profound visual narratives. One of Ghirri's most significant contributions was his ability to convey the evolving identity of post-war Italy. His photographs from this era provide a vivid chronicle of the shifting social landscape, marked by consumerism and modernity, yet always maintaining a deep connection to the region's history and traditions. In 1978, Ghirri published his first book, "Kodachrome," which became a seminal work in the field of color photography. This collection showcased his unique perspective and solidified his reputation as a visionary artist. He continued to produce influential works throughout the 1980s, including notable projects like "Il Profilo delle Nuvole" and "Viaggio in Italia," which further explored themes of travel, memory, and the passage of time. Ghirri's approach was both methodical and poetic. He meticulously composed his shots, paying close attention to light, color, and composition. His photographs often feature elements of surrealism and irony, inviting viewers to see the world through his distinctive lens. Despite his untimely death on February 14, 1992, Ghirri's legacy endures. His work has been celebrated in numerous exhibitions and retrospectives worldwide, influencing generations of photographers. Luigi Ghirri remains a pivotal figure in the history of photography, revered for his pioneering use of color and his profound ability to capture the essence of a changing Italy.
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Exclusive Interview with Sarah Ketelaars
Interview
Exclusive Interview with Sarah Ketelaars
British photographer Sarah Ketelaars combines a background in literature, journalism, and social science with a distinctive visual style that is both thoughtful and evocative. Based in Brighton, her work has been exhibited internationally and featured on book and magazine covers. Her recent project The 544 earned her a solo exhibition in May 2024.
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Exploring the Photography Market with Artsy: An Interview with Casey Lesser
Interview
Exploring the Photography Market with Artsy: An Interview with Casey Lesser
Photography has long played a crucial role in the art market, bridging fine art and contemporary culture while attracting a diverse range of collectors. With digital platforms reshaping how art is discovered, collected, and valued, Artsy has emerged as a key player in making photography more accessible. In this exclusive interview, Casey Lesser, Artsy's Director of Content and Editorial, shares insights into the current photography market, emerging trends, and how digital tools are shaping the way collectors engage with the medium. From the growing demand for portraiture to the impact of price transparency, Lesser offers a behind-the-scenes look at the evolving landscape of photography collecting.
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Exclusive Interview with Fabiola Menchelli
Interview
Event
Exclusive Interview with Fabiola Menchelli
Currently on view at the Norton Museum of Art, certain silence marks artist Fabiola Menchelli’s first solo museum exhibition in the United States. Running through March 23, 2025, the show offers an immersive exploration of photography’s materiality, challenging conventional notions of perception and image-making. Comprising more than 20 works—including previously unseen pieces—Menchelli’s ethereal compositions unfold through a meticulous process of folding, exposing, and developing light-sensitive materials. Created without a camera or negatives, her works blur the boundaries between control and chance, revealing intricate layers of abstraction and poetry. Through this interplay of light and form, certain silence invites viewers into a meditative space where perception itself becomes the subject of inquiry.
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Exclusive Interview with Kristin Taylor and Kyli Hawks on Art, Activism, Policy, and Power at MOCP
Interview
Exclusive Interview with Kristin Taylor and Kyli Hawks on Art, Activism, Policy, and Power at MOCP
Art, Activism, Policy, and Power is an educational framework offering resources and opportunities for high school students to engage with artist-activists. The program focuses on various justice topics, utilizing the MoCP’s exhibitions, visiting artists, and collections as teaching tools. Students explore how artists incorporate research into their work to amplify urgent social issues, while also gaining insight into the power of the arts in advancing activism.
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Exclusive Interview with Jaume Llorens
Interview
Exclusive Interview with Jaume Llorens
Jaume Llorens, born in Porqueres, near Girona, has been passionate about photography since his teenage years. Though he began exhibiting his work later in life, his artistic journey has quickly gained recognition on the international stage. His work is characterized by a deep, contemplative connection with nature, where silence and observation shape his artistic vision. His poetic project Gaia, inspired by this reflective approach, earned him the December 2023 Solo Exhibition. We asked him a few questions about his life and work.
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Exclusive Interview with Asiya Al Sharabi
Interview
Exclusive Interview with Asiya Al Sharabi
Asiya Al Sharabi is a Yemeni-American visual artist whose work has been recognized both nationally and internationally. She began her career as a journalist and photographer before shifting her focus to artistic photography, using her lens to explore the complexities of identity, culture, and migration. Now based in the U.S., her work is deeply rooted in the experiences of Middle Eastern women, young adults, and immigrants—themes that continue to shape her creative vision.
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Exclusive Interview with Members of Circulo Collective
Interview
Exclusive Interview with Members of Circulo Collective
Círculo Collective is a photography group dedicated to fostering unity and shared humanity during these challenging times. This exclusive collective brings together photographers from five countries: India, Tanzania, Iran, Brazil, and Poland. In a world increasingly defined by division and conflict, the mission of Círculo Collective holds profound significance. Through their work, they seek to remind us of the connections that bind us and the power of community in overcoming adversity. We reached out to them with a few questions to gain deeper insights into their project.
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Exclusive Interview with Manuela Federl
Interview
Exclusive Interview with Manuela Federl
Manuela Federl is a journalist and documentary filmmaker with over 15 years of experience. She studied languages, economics, and cultural studies, focusing on the Mapuche people in Chile, which became the subject of her published thesis. In 2016, she founded her company, bergjournalisten, and has since created award-winning documentaries like 100 Hours of Lesbos and THE GAME. Gambling Between Life and Death. For the past two years, she has traveled extensively, documenting social issues through photography and storytelling. Her series The Roma Princesses earned her the January 2024 Solo Exhibition.
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