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Win a Solo Exhibition in May 2026 + An Exclusive Interview!
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Taisuke Sato
Taisuke Sato
Taisuke Sato

Taisuke Sato

Country: Japan
Birth: 1969

Taisuke was born in Nagoya, Japan in 1969.
After graduating from the Department of Sociology at Ritsumeikan University, Kyoto, Japan, he worked in housing sales and management for a major Japanese housing company. When he turned 50, he chose to spend his life exploring arts, photography and its philosophy, then turned to be a photographer.
He takes pictures in the style of street photography. They have some feelings, lonely, surreal, and humorous. He also has a unique sensitivity to the distance between society and people, and the perspective from which he views them. This is because when he was a boy, he moved every three years due to his father's job transfer.
As a result, he learned how to blend in quickly and get along with the existing community by observing closely and understanding the distance and atmosphere between people. This is because in Japan's collectivist and relationship-oriented society, it is difficult to join an existing group.
In addition, the fact that he himself is an existence that "Appears one day and disappears the next" has given him a subjective and objective perspective and thinking, but even so, in Japanese society dominated by the exclusivity of the community and "the Atmosphere of the place", his identity without a hometown or geographical ties is very uncertain and unstable.
For this reason, his works are photographed with a unique sensibility, and their atmosphere reflects his worldview.
His main theme is the relationship between himself, people, and society. In his work, he presents a methodology that takes a multifaceted view of human life and society and transforms it into a "Acceptance of impermanence".
And more, he has deep insights into social behavioral psychology, social science, mental health, social class, Japanese organizational philosophies, housing and family, which are largely reflected in his work.

Websites

taisukesato.com

@taisuke_photos

 

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More Great Photographers To Discover

Lalla Essaydi
Lalla Essaydi
Morocco
1956
Lalla Essaydi (Lalla A. Essaydi) is a Moroccan-born photographer known for her staged photographs of Arab women in contemporary art. She currently works in Boston, Massachusetts, and Morocco. Her current residence is in New York. Essaydi was born in Marrakesh, Morocco in 1956. She left to attend high school in Paris at 16. She married after returning to Morocco and moved to Saudi Arabia where she had two children and divorced. Essaydi returned to Paris in the early 1990s to attend the École nationale supérieure des Beaux-Arts. She moved to Boston in 1996 and earned her BFA from Tufts University in 1999 and her MFA in painting and photography from the School of the Museum of Fine Arts in 2003. Influenced by her experiences growing up in Morocco and Saudi Arabia, Essaydi explores the ways that gender and power are inscribed on Muslim women's bodies and the spaces they inhabit. She has stated that her work is autobiographical and that she was inspired by the differences she perceived in women's lives in the United States versus in Morocco, in terms of freedom and identity. She explores a wide range of perspectives, including issues of diaspora, identity, and expected location through her studio practice in Boston. She also looks at the ways of viewing reality while questioning limits of other cultures and challenging Orientalist art, engaging tradition, history, art, and technology. Her Grand Odalisque from the series Les Femmes du Maroc (2008), for example, cites the French painter Jean-Auguste-Dominique Ingres' painting La Grande Odalisque (1814), although her model is dressed. She also presents the resistance of stereotypes maintained by Western and Eastern societies. The inspiration for many of her works came from her childhood, in the physical space where she, as a young woman, was sent when she disobeyed. She stepped outside the permissible behavioral space, as defined by Moroccan culture. Essaydi said her works will become haunted by spaces she inhabited as a child. Several pieces of her work (including Converging Territories) combine henna, which is traditionally used to decorate the hands and feet of brides, with Arabic calligraphy, a predominantly male practice. While she uses henna to apply calligraphy to her female subjects' bodies, the words are indecipherable in an attempt to question authority and meaning. According to Essaydi, "Although it is calligraphy that is usually associated with 'meaning' (as opposed to 'mere' decoration), in the visual medium of my photographs, the 'veil' of henna, in fact, enhances the expressivity of the images. Yet, by the same token, the male art of calligraphy has been brought into a world of female experience from which it has traditionally been excluded." The women depicted in her exhibition of photographs, Les Femmes du Maroc, are represented as decorative and confined by the art of henna. Essaydi thus poses her subjects in a way that exemplifies society's views of women as primarily destined for mere beauty. Henna, however, is extremely symbolic, especially to Moroccan women. It is an association with familial celebrations of a young girl reaching puberty and transitioning into a mature woman. The use of henna in her work creates a silent atmosphere of the women "speaking" to each other through a quality of femininity. It is predominantly a painting process where women who are discouraged to work outside the home find a profitable work in applying a tattoo-like material. Beyond creating powerful pieces revolving around the art of henna, Essaydi includes interpretations of traditional Moroccan elements, including draped folds of cloths adorning women's bodies, mosaic, tiles, and Islamic architecture. Lalla Essaydi’s photo series, Les Femmes du Maroc comments on contemporary social structures, as well as acknowledges the history that has aided in constructing representations of Arab female identity. Les Femmes du Maroc is one of her three major photographic series, which is influenced by nineteenth-century European and American Orientalist art. However, Essaydi appropriates Orientalist paintings by incorporating a new subject & style derived from her own personal history and experiences to emancipate Arabian women and to demonstrate a tradition that is misunderstood by a Western audience. The title of the series is an appropriation of a painting by the French Romantic Artist Eugène Delacroix. Therefore, each photo in the series is influenced by Orientalist art that is then appropriated. Essaydi's photographic series include Converging Territories (2003–2004), Les Femmes du Maroc (2005–2006), Harem (2009), Harem Revisited (2012–2013), Bullets, and Bullets Revisited (2012–2013). Her work has been exhibited around the world, including at the National Museum of African Art, and is represented in a number of collections, including the Art Institute of Chicago; the Museum Fünf Kontinente Munich/ Germany; the San Diego Museum of Art; the Cornell Fine Arts Museum, Winter Park, Florida; the Fries Museum in Leeuwarden, The Netherlands; the Museum of Fine Arts, Boston; and the Williams College Museum of Art in Williamstown, Massachusetts. She was named as #18 in Charchub's "Top 20 Contemporary Middle Eastern Artists in 2012-2014". In 2015, the San Diego Museum of Art mounted the exhibition, Lalla Essaydi: Photographs. Source: Wikipedia Lalla A. Essaydi grew up in Morocco and now lives in USA where she received her MFA from the School of the Museum of Fine Arts/TUFTS University in May 2003. Essaydi’s work is represented by Howard Yezerski Gallery in Boston and Edwynn Houk Gallery in New York City. Her work has been exhibited in many major international locales, including Boston, Chicago, Minneapolis, Texas, Buffalo, Colorado, New York, Syria, Ireland, England, France, the Netherlands, Sharjah, U.A.E., and Japan and is represented in a number of collections, including the Williams College Museum of Art, The Art Institute of Chicago, the Fries Museum, the Netherlands, and The Kodak Museum of Art. Her art, which often combines Islamic calligraphy with representations of the female body, addresses the complex reality of Arab female identity from the unique perspective of personal experience. In much of her work, she returns to her Moroccan girlhood, looking back on it as an adult woman caught somewhere between past and present, and as an artist, exploring the language in which to “speak” from this uncertain space. Her paintings often appropriate Orientalist imagery from the Western painting tradition, thereby inviting viewers to reconsider the Orientalist mythology. She has worked in numerous media, including painting, video, film, installation, and analog photography. "In my art, I wish to present myself through multiple lenses -- as artist, as Moroccan, as traditionalist, as Liberal, as Muslim. In short, I invite viewers to resist stereotypes."Source: lallaessaydi.com
Joanna Borowiec
Joanna Borowiec
Poland
1971
Joanna Borowiec, a graduate of the European Academy of Photography in Warsaw, diploma thesis in the Creative and Expressive Photography Workshop, Dr Izabela Jaroszewska. Member of the Association of Polish Art Photographers (ZPAF). Scholarship holder of the Ministry of Culture and National Heritage 2020. Photography Workshop. Enthusiast of medium- and large-format analogue photography. Uses historic photographic processes like ambrotype – wet collodion technique, cyanotype e.c.t. The main topic of her photos is humanistic photography, human. Winner International Photography Awards IPA 2021- category Deeper Perspective Photographer of the Year. She was also awarded the third place in Photographer of the Year category of the Black& White Spider Awards competition. Prize-winner of the Portfolio Black + White Photography UK, the Portfolio Black & White for Collectors Of Fine Photography Canada, the Portfolio 2012 Shot Magazine USA. Her works and interviews with her were published in many magazines, i.a. the Black+ White Photography UK (the cover), the Shot Magazine USA, the Black and White Magazine Canada and in national magazines. Her photographs can be found in public and private collections at home and abroad, i.a. in Switzerland, Spain, Italy, Sweden, USA e.c.t. She has participated in individual and collective exhibitions at home and abroad, i.a. in Poland, Germany, Spain, Singapore, Canada, USA e.c.t. Blue Story Many of my cyanotypes are created by layering a combination of objects and film imagery with carefully timed light exposures for a depth of blue/indigo colors. Inspired by nature and how we interact with it, I arrange natural objects such as leaves, flowers and vines with human made objects or images of objects. I choose to work with cyanotypes "live", in sunlight for the spontaneity of arranging the objects and often have a general idea of what I want to do allowing for of-the-minute additions and subtractions of objects and timing of exposures. I sometimes add acryl paint, or colored pencil to a washed and dried print. Cyanotype is a contact print process using treated, UV light sensitive paper. It results in a Prussian blue final print. Also known as photogram, sun print. The English scientist and astronomer Sir John Herschel discovered this procedure in 1842. (...) Due to the coating and printing process Cyanotypes are always non reproducible unique items in itself. Dreams Unfinished It is a story about pain, love and longing. The photos were taken after the death of my father. He passed away suddenly in his sleep. I could not understand what happened, to come to terms with the loss. I looked for him everywhere and imagined he was asleep and dreaming. As a result, I have contact with him in the dream world he is with me. Works depict dreams, motifs, shards of memories which probably appear in everyone's dreams. Dreams - eternal companions of human life - encourage us to analyse our own experiences and understand our fate. They enable us to bring to surface deeply hidden secrets and go beyond the earthly matters. These records are born out of imagination and perishable ephemeral memory. They are not meant to be unambiguous; they should leave the door open for free interpretation and free reading to enable everyone to supplement them with their own story. Glass Faces "The eyes and faces all turned themselves towards me, and guiding myself by them, as by a magical thread, I stepped into the room" Sylvia Plath Glass Faces present unique, enchanting, climatic and hypnotising portraits. Bewitching with natural beauty and somewhat unreal, mysterious, silent and oozing various emotions. Faces of friends and people we have just met. Ambrotypes - positive images created on a sheet of glass using the 19th century wet collodion process - are the vital element of the project. The ambrotype is inimitable. You may try to reproduce it, but a piece created on black glass remains unique. Ambrotype - Ambrotos means immortal... I was born in a camp The story of Jan Chmiel, who was born in the Waltrop forced labor camp - a city in western Germany. According to a record issued by a German official, he was born in 1944. , according to information provided by the mother in 1942. Of the 143 children captured in the Waltrop camp, three survived, including Jan.
Sandra Jonkers
Sandra Jonkers
Netherlands
1974
Sandra Jonkers was born in 1974 in Rotterdam, the Netherlands. She has been photographing since 2011 and gradually become one of the most prominent street photographers in the Netherlands. As equipment, she has her camera and her scooter. When I became acquainted with photography, I have started to experiment with all sorts of forms of photography. It was a big discovery to reveal the dynamics in the most mundane moments on the street, that have turned out suddenly and stay so out of routine. The little things that you normally pass by were all of a sudden special and interesting. I, therefore, started to see street photography as an enrichment of myself. If you are serious about street photography, you will experience it as a way of life. Capturing a moment that never and never comes back. No one else has seen it as you have recorded it. This way of seeing photography makes me very happy. What I need to see in street photography is storytelling scenes, powerful street portraits and purity. Because for a good street photo you have to have courage. Not being afraid of approaching people, candid, is 'key' in this.I like powerful intense looks. What you see in my photography is who I am.
Cyrus Cornut
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.
Scott M. Fincher
Scott M. Fincher
United States
1946
So what differentiates a portrait of a person from a picture of an object? Essentially nothing. A photographer's purpose is revelation. In the street or in the corporate suite the imperative is to take surfaces into the interior so that the viewer comes to understand something about what has been presented. This could be an aspect of personality or the structure of a design. In short, one can say no more than one can see. Early in my career, I used to fantasize that I could be a Beethoven of photography. The idea contradicts the central principle of the medium. What distinguishes photography from the other arts is time. Unlike music, which takes a single idea and expands it, photography interrupts the continuum and digests it into an exquisite moment where understanding, composition and action intersect. All this is expressed succinctly in poet e.e. cummings's introduction to his volume "Is Five": "I am abnormally fond of that precision which creates movement." In my eyes, photography also adheres to Francis Bacon's maxim, "The contemplation of things as they are without error, without confusion, without substitution or imposture is in itself a nobler thing than a whole harvest of inventions." That is why I love both nature and the street and quest for the image that sits on the cusp of the real and surreal. For the most part, I do not manipulate the images in the digital "darkroom" any more than I would have were I using techniques of the old "wet" darkrooms. Mostly, I adjust luminosity. My background is print journalism. I edited photography and foreign and national news for the Chicago Tribune and Chicago Sun-Times for many years before deciding to rededicate myself to my passion. It has been, as the great Edward Steichen once said about the photographic act, "Incredibly easy and impossibly difficult." Nevertheless, the results have been good, and I have won national, international and art fair awards since my return to photography in 2006. My images are in collections all over the U.S. and in Germany, Poland, Denmark and Venezuela. I hold a bachelor's in English from Northwestern University, Evanston, Ill., and have studied photography in too many workshops to enumerate. I live in Chicago.
Bunny Yeager
Bunny Yeager
United States
1929 | † 2014
Linnea Eleanor "Bunny" Yeager was an American photographer and pin-up model. She was born in the Pittsburgh suburb of Wilkinsburg, Pennsylvania, to Raymond Conrad and Linnea (née Sherlin) Yeager on March 13, 1929. Her family moved to Florida when she was 17. She adopted the nickname "Bunny" from Lana Turner's character Bunny Smith in the 1945 movie Week-End at the Waldorf. The nickname has also been attributed to her portrayal of the Easter Bunny in a high school play. Bunny Yeager graduated from Miami Edison High School and afterward enrolled at the Coronet Modeling School and Agency. She won numerous local beauty pageants including in rapid succession Queen of Miami, Florida Orchid Queen, Miss Trailercoach of Dade County, Miss Army & Air Force, Miss Personality of Miami Beach, Queen of the Sports Carnival and Cheesecake Queen of 1951. Yeager became one of the most photographed models in Miami. Photos of Yeager appeared in over 300 newspapers and magazines. She also designed and sewed many of the outfits she and her models wore, at one time boasting that she never wore the same outfit twice while modeling. She designed and produced hundreds of bikinis when the two-piece swimsuit was a new fashion item and is credited with its popularity in America. Bruno Banani, the German fashion company, has developed a line of swimwear based on Yeager's designs from the 1950s. Yeager entered photography to save money by copying her modeling photographs, enrolling in a night class at a vocational school in 1953. Her career as a professional photographer began when a picture of Maria Stinger, taken for her first school assignment, was sold to Eye magazine for the cover of the March 1954 issue. She became a technically skilled photographer noted for, among other things, her early use of the fill flash technique to lighten dark shadows when shooting in bright sun. Yeager was one of the first photographers to photograph her models outdoors with natural light. Matt Schudel wrote in the Washington Post that her images were vivid and dynamic, going on to say, "She favored active poses and a direct gaze at the camera lens, in what could be interpreted alternately as playful innocence or pure lust." She met Bettie Page in 1954, and took most of the photographs of her that year. During their brief collaboration, she took over 1,000 pictures of Page. Along with photographer Irving Klaw, Yeager played a role in helping to make Page famous, particularly with her photos in Playboy magazine. American Photo magazine described Yeager's work with Page as "a body of imagery that remains some of the most memorable — and endearing — erotica on record" in a 1993 article. The most famous images of Page by Yeager include the January 1955 Playboy centerfold in which she kneels wearing only a Santa hat while hanging a silver ornament on a Christmas tree and a series of photographs with a pair of live cheetahs. Yeager was a very prolific and successful pinup photographer in the 1950s and 1960s, so much so, that her work was described as ubiquitous in that era. She continued to work extensively with Playboy shooting eight centerfolds in addition to covers and pictorial spreads. She discovered Lisa Winters, the first Playmate of the Year. Yeager also appeared in the magazine as a model five times. One appearance with the headline, "Queen of the Playboy Centerfolds", was photographed by Hugh Hefner. Her work was also published in mainstream magazines including Cosmopolitan, Esquire, Pageant, Redbook and Women's Wear Daily. The famous still images she took of Ursula Andress emerging from the water on the beach in Jamaica for the 1962 James Bond film Dr. No are probably her best-known bikini photographs. She discovered many notable models. In the 1970s as men's magazines became more anatomically graphic Yeager largely stopped photographing for them, saying they were somewhat "smutty" and that, "They had girls showing more than they should." In 1998 she stated, "The kind of photographs they wanted was something I wasn't prepared to do." An exhibition titled Beach Babes Bash in the early 1990s at the Center for Visual Communication (at that time located in Coral Gables, Florida) featured photographs by Yeager of models from Miami on the beach from the 1950s. Another exhibit at the same gallery featuring Yeager's work was titled Sex Sirens of the Sixties. In 1992 Playboy published a retrospective of her work titled The Bettie Boom. Since 2002, Yeager's work has been exhibited in contemporary art galleries. In early 2010, The Andy Warhol Museum held the first major museum exhibition of Yeager's work. The exhibit, The Legendary Queen of the Pin Up, featured her self-portraits, some from her book How I Photograph Myself published by A.S. Barnes & Co. in 1964. The Fabulous Bunny Yeager an exhibit in 2011 at the Harold Golen Gallery in Miami also featuring self-portraits by Yeager was of photographs that had not been exhibited previously. Also in 2011 Helmut Schuster curated an exhibition for Art Basel at the Dezer Schauhalle in Miami titled Bunny Yeager: Retrospective to the Future featuring over 200 of Yeager's photos. Included were some images that had not been shown before of models including Bettie Page. In 2012 Bunny Yeager had two exhibitions in Germany, Funland at Gallery Schuster Potsdam and Femme Fatale in December 2012 at Gallery Schuster Berlin. The Museum of Art Fort Lauderdale held a 2013 exhibit, Bunny Yeager: Both Sides of the Camera featuring her photographs of herself, Page, and model Paz de la Huerta. The exhibit also included some of Yeager's first new pictures in twenty years. Yeager had a show at the Sofia Vault in Sofia, Bulgaria in October 2013. The Gavlak Gallery in Palm Beach, Florida put on an exhibit, Bunny Yeager: Selections from How I Photograph Myself in 2014. The Sin City Gallery in Las Vegas held a posthumous exhibit, Bunny's Bombshells, from June 5 to July 20 2014. She had her own studio in the Wynwood Art District of Miami, part of the Center for Visual Communication. There is a "Bunny Yeager Lounge" in Berlin which is open to the public and shows photos, memorabilia and movies. Yeager was also founding editor and publisher of a trade magazine for entertainment professionals, Florida Stage & Screen. As of 1998 her 24 books had sold over 1 million copies. Bunny Yeager was married twice, first to Arthur Irwin who died in 1977 and then to Harry Schaefer who died in 2000.[5] She had two daughters, Lisa and Cherilu. Yeager died on May 25, 2014 of congestive heart failure at age 85 in North Miami, Florida.Source: Wikipedia
Argus Paul Estabrook
Argus Paul Estabrook
South Korea/United States
1977
I'm a biracial Korean-American photographer who works in both South Korea and the USA. Frequent travel between these two countries has provided me a unique perspective of Korean identity and its relationship to both global and regional communities. As an artist, I'm interested in creating work that gives voice to others and I often volunteer my efforts to marginalized communities. My work has been awarded by the Magnum Photography Awards, Sony World Photography Awards, LensCulture, IPA, MIFA, TIFA, as well as exhibited at the Aperture Summer Open: On Freedom. I've also been twice selected as a Critical Mass Top 50 artist by Photolucida and a three-time recipient of PDN's Annual Exposure Award. Additionally, I am an alumnus of the prestigious Eddie Adams Workshop and was named the 2017 Dorothy Liskey Wampler Eminent Professor in the School of Art, Design and Art History at James Madison University. Losing Face "Losing Face," documents the energy and emotions surrounding the impeachment protests of South Korean President Park Geun-hye. In October 2016, her relationship with a shadowy advisor from a shaman-esque cult was revealed to extend to acts of extortion. Protests were then held every weekend until Park was formally removed from office in early March 2017. This is what it looks like when the South Korean President loses face. This Is Not an Exit "This Is Not an Exit," bears witness to my father's unexpected struggle with Stage 4 pancreatic cancer as well as documents my mother's grief after his passing. Tying my photography to my mother's narration of events, we weave an intimate family record- one of vision and voice. Bound together through a personal process of grief, I hope "This Is Not an Exit" creates an emotional map, one that reveals our connectedness to each other while also furthering an understanding for all those navigating the loss of a loved one. More about Losing Face
Nadar
Nadar
France
1820 | † 1910
Nadar was the pseudonym of Gaspard-Félix Tournachon. Nadar was born in April 1820 in Paris (though some sources state Lyon). He was a caricaturist for Le Charivari in 1848. In 1849 he created the Revue comique and the Petit journal pour rire. He took his first photographs in 1853 and in 1858 became the first person to take aerial photographs. He also pioneered the use of artificial lighting in photography, working in the catacombs of Paris. Around 1863, Nadar built a huge (6000 m³) balloon named Le Géant ("The Giant"), thereby inspiring Jules Verne's Five Weeks in a Balloon. Although the "Géant" project was initially unsuccessful Nadar was still convinced that the future belonged to heavier-than-air machines. Later, "The Society for the Encouragement of Aerial Locomotion by Means of Heavier than Air Machines" was established, with Nadar as president and Verne as secretary. Nadar was also the inspiration for the character of Michael Ardan in Verne's From the Earth to the Moon. On his visit to Brussels with the Géant, on 26 September 1864, Nadar erected mobile barriers to keep the crowd at a safe distance. Up to this day, crowd control barriers are known in Belgium as Nadar barriers. In April 1874, he lent his photo studio to a group of painters, thus making the first exhibition of the Impressionists possible. He photographed Victor Hugo on his death-bed in 1885. He is credited with having published (in 1886) the first photo-interview (of famous chemist Michel Eugène Chevreul, then a centenarian), and also took erotic photographs. From 1895 until his return to Paris in 1909, the Nadar photo studio was in Marseilles (France). Nadar died in 1910, aged 89. He was buried in Père Lachaise Cemetery in Paris. Source: Wikipedia
Maggie Taylor
Maggie Taylor
United States
1961
Maggie Taylor received her BA degree in philosophy from Yale University in 1983 and her MFA degree in photography from the University of Florida in 1987. After more than ten years as a still life photographer, she began to use the computer to create her images in 1996. Her work is featured in Adobe Photoshop Master Class: Maggie Taylor’s Landscape of Dreams, published by Adobe Press in 2004; Solutions Beginning with A, Modernbook Editions, Palo Alto, 2007; and Alice’s Adventures in Wonderland, Modernbook Editions, Palo Alto, 2008. Taylor’s images have been exhibited in one-person exhibitions throughout the U.S and abroad and are in numerous public and private collections including The Art Museum, Princeton University; The Fogg Art Museum, Harvard University; Harn Museum of Art, University of Florida; Museum of Fine Arts, Houston, Texas; and The Museum of Photography, Seoul, Korea. In 1996 and 2001, she received State of Florida Individual Artist’s Fellowships. In 2004, she won the Santa Fe Center for Photography’s Project Competition. 2005 she received the Ultimate Eye Foundation Grant. She lives in Gaineville, Florida.From en.wikipedia.orgMaggie Taylor (born 1961 in Cleveland, Ohio) is an artist who works with digital images. She won the Santa Fe Center for Photography's Project Competition in 2004. Her work has been widely exhibited in the United States and Europe and is represented within the permanent collections of several galleries and museums. She is the third wife of American photographer, Jerry Uelsmann. She produces prints by scanning objects into a computer using a flatbed scanner, then layering and manipulating these images using Adobe Photoshop into a surrealistic montage.
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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.
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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.
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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.
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Exclusive Interview with Josh S. Rose
Interview
Exclusive Interview with Josh S. Rose
Josh S. Rose is a multidisciplinary artist working across photography, film, and writing. His practice bridges visual and performing arts, with a strong focus on movement, emotion, and the expressive potential of the image. Known for his long-standing collaborations with leading dance companies and performers, Rose brings together authenticity and precise composition—a balance he describes as “technical romanticism.” His work has been commissioned and exhibited internationally, appearing in outlets such as Vogue, at the Super Bowl, in film festivals, and most recently as a large-scale installation for Lincoln Center for the Performing Arts. A sought-after collaborator, he has worked with major artists, cultural institutions, and brands, following a previous career as Chief Creative Officer at Interpublic Group and the founder of Humans Are Social. We asked him a few questions about his life and work.
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Interview with Maureen Ruddy Burkhart
Interview
Interview with Maureen Ruddy Burkhart
Photographer Maureen Ruddy Burkhart brings a quietly attentive and deeply human sensibility to her exploration of the world through images. Shaped by a life immersed in photography, film, and visual storytelling, her work is guided by intuition, observation, and an enduring interest in the emotional undercurrents of everyday life. With a practice rooted in both fine art traditions and documentary awareness, she approaches her subjects with sensitivity, allowing subtle moments to emerge naturally rather than be imposed. Her series Til Death, selected as the Solo Exhibition for February 2025, reflects this long-standing commitment to photography as a space for reflection rather than spectacle. Drawn to moments that exist just outside the expected frame, Burkhart’s images suggest narratives without resolving them, leaving room for ambiguity, humor, and quiet connection. We asked her a few questions about her life and work.
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