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Brian Ulrich
Brian Ulrich

Brian Ulrich

Country: United States
Birth: 1971

Brian Ulrich is an American photographer known for his exploration of consumer culture. Ulrich's work is held many collections including the Art Institute of Chicago and the Cleveland Museum of Art. Photo District News named Ulrich as one of 30 Emerging Photographers (2007). He was awarded a Guggenheim Fellowship (2009). His work has been featured in the New York Times Magazine; Time Magazine; Mother Jones; Artforum; and Harper’s. Aperture and the Cleveland Museum of Art published his first major monograph, Is This Place Great or What (2011). The Anderson Gallery published the catalog Closeout: Retail, Relics and Ephemera (2013).

Source: Rhode Island School of Design


Ulrich was born in Northport, New York, and lives in Providence, Rhode Island. He received a BFA in photography from University of Akron in Akron, Ohio (1996) and an MFA in photography from Columbia College Chicago (2004). He has taught photography at Columbia College Chicago and Gallery 37, both in Chicago; and at the University of Akron. He is an Associate Professor of Photography at the Rhode Island School of Design.

In 2001 in response to a national call for citizens to bolster the American economy through shopping, Ulrich began a project to document consumer culture. This project, Copia, is a series of large-scale photographs of shoppers, retail spaces, and displays of goods. Initially focused on big-box retail establishments and shoppers, the series expanded to include thrift stores, back rooms of retail businesses, art fairs, and most recently empty retail stores and dead malls.

Ulrich works with a combination of 4×5 large format and medium format cameras, and also incorporates found objects as sculpture, juxtaposed with his photographs on gallery walls.

Source: Wikipedia


Selected Books on Available on Amazon
Brian Ulrich: Is This Place Great or What
Brian Ulrich: Is This Place Great or What
Brian Ulrich

Gallery

Robert Koch Gallery

Websites

notifbutwhen.com

@brian_ulrich

 

Brian Ulrich's Video

Selected Books

Brian Ulrich: Is This Place Great or What
Brian Ulrich: Is This Place Great or What
Brian Ulrich

Inspiring Portfolios

Marijn Fidder
© Marijn Fidder
Julien Chatelin
© Julien Chatelin
Marcus Yam
© Marcus Yam
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© Patrick Enssler
 
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More Great Photographers To Discover

Alex Lobo
Alex Lobo
Spain
1978
I was born and raised in Madrid, Spain. Being passionate about all kinds of visual arts since an early age, I graduated from an audiovisual technical school and moved to London in 2005, where I soon developed a passion for photography that has also accompanied me to Japan, my home since 2013. I specialise in fine art and portrait photography. Statement: Art is for me a way of transforming reality with an expressive purpose. My favourite artworks are those that use the expressive tools of the chosen media form to materialise a very subjective vision of the human experience. In my personal case, I have always been attracted to darkness. Exploring the murky corners of the human soul has always been more appealing to me than indulging in rosy views of it. I’ve also been passionate about films and their power to provoke the most intense emotions since I was a child. I originally wanted to become a filmmaker. With photography, I found a different way to tell stories through images while still delving into the shadows. Maybe that explains why my work is dominated by dark key images and dramatic light, and why there seems to be a latent narrative component to them.
Laura Pannack
Laura Pannack
United Kingdom
1985
Laura Pannack is a London-based, award-winning photographer. Renowned for her recognizable portraiture and social documentary artwork, she often seeks to explore the complex relationship between subject and photographer. Her work heavily focuses on the youth. She was educated at the University of Brighton, Central Saint Martins College of Art and LCP. Pannack's work has been extensively exhibited throughout the UK and abroad, including at The National Portrait Gallery, Somerset House, the Royal Festival Hall and the Houses of Parliament. Driven by research-led, self-initiated projects, Pannack seeks to fully understand the lives of those she captures on film in order to portray them as truthfully as possible. Perceiving “time, trust and understanding” to be the key elements to achieving this, many of her projects develop over several years, helping her achieve a genuine connection between herself and her sitter and allowing her to capture the intimacy, shared ideas and shared experiences of this relationship. Pannack chooses to shoot with analogue film on her personal projects. By using traditional methods of working from negatives, as well as shooting with Polaroid, she finds beauty in the mistakes that come from working with unpredictable material. Her artwork has received much acclaim and won numerous awards, among which are the John Kobal Award , Vic Odden prize,World Photo Press Awards and the HSBC Prix de la Photographie prize In addition to her own practice, Pannack lectures, critiques and teaches at universities, workshops and festivals around the world, and in 2015, judged the portrait category in World Photo Press Awards in Amsterdam. Pannack has also been widely published, both commercially and as a photographic artist, with work appearing in The British Journal of Photography, Hotshoe International, TIME, The Guardian Weekend, The Telegraph, The Sunday Times, Creative Review. Her monograph 'Against the dying of the light' was published by Acts de Suds in 2016 and YOUTH Vol 1 was released in 2018 by Polite company
Jill Freedman
Jill Freedman
United States
1939 | † 2109
Jill Freedman was a highly respected New York City documentary photographer whose award-winning work is included in the permanent collections of the Museum of Modern Art, the International Center of Photography, George Eastman House, the Smithsonian American Art Museum, the New York Public Library, the Museum of Fine Arts, Houston, and the Bibliothèque Nationale de France, Paris, among others. She appeared in solo and group exhibitions throughout the world, and contributed to many prominent publications. Jill Freedman was best known for her street and documentary photography, recalling the work of André Kertész, W. Eugene Smith, Dorothea Lange, and Cartier-Bresson. She published seven books: Resurrection City; Circus Days; Firehouse; Street Cops; A Time That Was: Irish Moments; Jill’s Dogs; and Ireland Ever. Jill Freedman lived and worked on the Upper West Side of New York City. The Joy of Photography "When I was seven I found old Life Magazines in the attic. My parents had kept the ones from the war and for a year I used to go up there after school, look at the pictures, cry, then go play softball. When my parents realized that I had found them and how they affected me, they burned them, but it was too late, those pictures had burned into my brain. Outwardly I was normal, but those images were always with me, and in my dreams. Even now I can see them, the man who had tried to escape the burning barn, the concentration camp. I majored in Sociology in college, then spent a few years traveling around Europe singing for my supper. I’d spend the days wandering around, searching for adventure, meeting all kinds of eccentric characters and loving their stories. When I ran out of money I’d sing again. I settled in New York, got a job, tried to figure out what I wanted to do. Something meaningful, not just work. I was starting to worry. Then one day I woke up and wanted a camera. I borrowed one. I had never taken a picture before, and as soon as I held it in my hands it felt good. I never had the sense of holding a machine. I read the instructions, went out into the street, shot two rolls, had them developed. I was thunderstruck. It were as though I had been taking pictures for years, but in my head, without a camera. “That’s it,” I said. “I’m a photographer.” What a relief. Photojournalism was always it for me. Those pictures in the attic had set my course. Those, and all the characters I’d met. To tell a story in the blink of an eye, have it printed so that millions of people could see it and wrap their fish in it, to have my pictures reach people the way those Life magazines had reached me, now that was doing something. I am self taught. I got a copywriting job to support myself and I started learning, devouring books and looking at good work, walking a lot, and shooting. Those early years were fired with an intensity and passion I had never felt before. I was obsessed and driven. I thought about photography all of the time. And my pictures, if no one else had liked them, it wouldn’t have mattered, I loved them. Sometimes I’d look at them and think, What if I wake up one day and it’s gone? What if it goes away like it came? With each paycheck I bought equipment and built a darkroom and when I finally made my first print, I was hooked for good. It was the first time that I had ever finished something I had started. My father used to say, “You blow hot and cold.” But it was magic, watching it come up in the developer. I still feel it. I worked hard, learning my craft. I like to work two ways, either on a specific idea or just wandering around, getting lost, snapping. Eventually, all the wanderings go together, and then I find out what I’ve been doing. Photography is magic. You can stop time itself. Catch slivers of moments to savor and share time and again. Tell beautiful silver stories, one photo alone, or many playing together to form a book. A photograph is a sharing, it says “Hey, look at this!”, it’s a miracle, is what it is. And when you’re going good and you get a new picture you love, there’s nothing better. That’s the joy of photography, and the fun." -- Jill Freedman Source: www.jillfreedman.com Freedman was born in Pittsburgh in 1939 to a traveling salesman and a nurse. After college, she traveled to Israel and England before taking up copywriting jobs in New York to sustain herself. She had not grown up taking photographs, but she said in New York one day she “woke and wanted a camera,” according to an essay she published on her website. She wrote that she was inspired by copies of Life Magazine she had pored over as a child. Looking back on a photograph from the early years of her career in a 2017 interview with The Guardian, Freedman said activism and protests had been the catalysts for her photography: "I studied sociology and anthropology and now realise that what I’ve been doing with my camera all these years is documenting human behavior. But I was taking pictures in my head long before I became a photographer. It was the Vietnam war that changed everything for me. I was angry and wanted to photograph anti-war demonstrations, so got my first camera." After her stint in activism, Freedman joined the circus for several months, taking mesmerizing photographs of clowns, chained elephants, and beartamers. Freedman applied a similar level of vigor and rigor to documenting the lives of public servants, photographing intimate moments of firefighters’ and policemen’s work. She followed firefighters in Harlem and the South Bronx for two years at a time women tended to not be allowed in these environments, offering her an unguarded view of their lives. She also took a positive view of cops and thought they faced unfair criticism. “I set out to deglamorize violence,” Freedman told the New York Times in 2015. In the 1980s, Freedman started to work less due to health complications, receiving a breast cancer diagnosis in 1988 and breaking her pelvis later. She had hoped to create one last photobook before she died, to be titled Madhattan, and was featured in the street photography documentary Everybody Street (2013), alongside the likes of Bruce Davidson and Joel Meyerowitz. The Steven Kasher Gallery organized an exhibition spanning four decades of her career in 2015 and, in 2017, a show devoted to her Resurrection City photographs.Source: Artsy
Lillian Bassman
Lillian Bassman
United States
1917 | † 2012
Lillian Bassman (June 15, 1917 – February 13, 2012) was an American photographer and painter. Her parents were Jewish intellectuals who emigrated to the United States from Russia in 1905 and settled in Brooklyn, New York. She studied at the Textile High School in Manhattan with Alexey Brodovitch and graduated in 1933. While there, she met the photographer, Paul Himmel, and they were married in 1935; Himmel died in 2009 after 73 years of marriage. From the 1940s until the 1960s Bassman worked as a fashion photographer for Junior Bazaar and later at Harper's Bazaar where she promoted the careers of photographers such as Richard Avedon, Robert Frank, Louis Faurer and Arnold Newman. Under the guidance of the Russian emigrant, Alexey Brodovitch, she began to photograph her model subjects primarily in black and white. Her work was published for the most part in Harper’s Bazaar from 1950 to 1965. By the 1970s Bassman’s interest in pure form in her fashion photography was out of vogue. She turned to her own photo projects and abandoned fashion photography. In doing so she tossed out 40 years of negatives and prints - her life’s work. A forgotten bag filled with hundreds of images was discovered over 20 years later. Bassman’s fashion photographic work began to be re-appreciated in the 1990s. She worked with digital technology and abstract color photography into her 90s to create a new series of work. She used Photoshop for her image manipulation. The most notable qualities about her photographic work are the high contrasts between light and dark, the graininess of the finished photos, and the geometric placement and camera angles of the subjects. Bassman became one of the last great woman photographers in the world of fashion. Bassman died on February 13, 2012, at age 94. Source: Wikipedia Lillian Bassman was born in 1917 into an immigrant family of free-thinking intellectuals, and was brought up with a mindset that allowed her to live as an independent and unconventional woman.She worked as a textile designer and fashion illustrator before working at Harper's Bazaar with Alexey Brodovitch, and ultimately becoming a photographer. Bassman's fashion images are unique, and acheieve their effect through manipulation in the dark room. Appearing in Harper's Bazaar from the 1940's to the 1960's, her work was categorized by their elegance and grace.Bassman had transformed these photographs into original works of art through her darkroom techniques in which she blurs and bleaches the images, investing them with poetry, mystery, and glamour. Source: Staley-Wise Gallery Lillian Bassman is one of the great 20th century fashion photographers along with Irving Penn and Richard Avedon. She began her career not as a photographer but as a painter at the WPA and then took courses at Pratt Institute in Brooklyn, New York. In 1945, Bassman was appointed Art Director at Junior Bazaar, giving projects to photographers such as Richard Avedon, Robert Frank and Paul Himmel (her husband). Later in 1947, she became the Art Director at Harper’s Bazaar, and her work appeared in Harper’s Bazaar throughout the 1940’s and 50’s. Her work was nearly destroyed in the 70’s by a water leak in her studio, and it was not until the 1990’s that her work was revived. With this new spotlight, Bassman received the Agfa Life Time Achievement Award and the Dem Art Directors Club Award in 1996. During the same year, Bassman began photographing again when she was asked to photograph the Haute Couture collection for New York Times Magazine, the Autumn Collection for Neiman Marcus, as well as work for German Vogue. Her work has been exhibited worldwide. Source: Peter Fetterman Gallery
Spencer Tunick
Spencer Tunick
United States
1967
Spencer Tunick is an American photographer best known for organizing large-scale nude shoots. Since 1994, he has photographed over 75 human installations around the world. Spencer Tunick was born in Middletown, Orange County, New York into a Jewish family. His father Earl owned a keychain photo-viewer franchise in the Catskills. In 1986, he visited London, where he took photographs of a nude at a bus stop and of scores of nudes in Alleyn's School's Lower School Hall in Dulwich, Southwark. He earned a Bachelor of Arts from Emerson College in 1988. In 1992, Tunick began documenting live nudes in public locations in New York through video and photographs. His early works from this period focus more on a single nude individual or small groups of nudes. Tunick cites 1994, when he posed and photographed 28 nude people in front of the headquarters of the United Nations in midtown Manhattan, as a turning point in his career; "It all started there, moving my work from just photography into installation and performance photography," he says. Since then, he has organized and photographed over 65 temporary site-related installations in the United States and abroad. Tunick's philosophy is that "individuals en masse, without their clothing, grouped together, metamorphose into a new shape. The bodies extend into and upon the landscape like a substance. These grouped masses which do not underscore sexuality become abstractions that challenge or reconfigure one's views of nudity and privacy." Sometimes, after gathering his subjects together, Tunick grades them by gender, long hair, age or other characteristics. Registration for modeling on his website includes questions about skin tone. A color chart shows seven boxes ranging from stark white to baby-powder pink and dark chocolate. In his work, he plays off different flesh tones or groups people of the same color. Tunick is also interested in the juxtaposition between the organic and the mechanical, and often chooses famous buildings or unusual structures as his backdrop. As of 2021, Tunick is the star of forthcoming pandemic documentary film Stay Apart Together, directed by Nicole Vanden Broeck, in which Tunick reinvents his photography "to find a way to bring everyone together while staying apart". To mark International Women's Day on March 8, 2021, the twenty-fourth session of the Stay Apart Together project saw Tunick and Vanden Broeck collaborate with Mexican-American visual artist Daniela Edburg to depict 75 Latin American women in 11 poses, incorporating the colors purple and green (symbols of the Latin American feminist movement) and hot pink, selected by Edburg for its liveliness.Source: Wikipedia Spencer Tunick has been documenting the live nude figure in public, with photography and video, since 1992. Since 1994, he has organized over 100 temporary site-related installations that encompass dozens, hundreds or thousands of volunteers, and his photographs are records of these events. In his early group works, the individuals en masse, without their clothing, grouped together, metamorphose into a new shape. The bodies extend into and upon the landscape like a substance. These group masses, which do not underscore sexuality, often become abstractions that challenge or reconfigure one's views of nudity and privacy. The work also refers to the complex issue of presenting art in permanent or temporary public spaces. Spencer Tunick stages scenes in which the battle of nature against culture is played out against various backdrops, from civic center to desert sandstorm. In 2002 he started to work with standing positions for his group formations referencing traditional group portraiture. Now, for some installations, he adds objects that the participants are often holding or wearing and has included body paint. Spencer has and continues to make group installations/photographs elevating awareness of HIV/AIDS, LGBTQ rights, equality and climate change, among other issues. Near the end of installations, for the final setups, he sometimes separates the participants into smaller groups to make additional assemblages: sometimes by sex, sometimes by age, or even by hair color. However, no one is ever excluded from an installation because of the color of their skin, ethnicity, gender identity, sex, race, religion, or political affiliation. If you can make it to an installation you can participate, unless of course there are space limitations. Spencer could not make his art without the generosity of the participants. He is eternally grateful for their participation. He wishes he could credit everyone in his individual and group photographs but there are hundreds and thousands who have taken part collectively. In exchange for taking part, participants receive a limited edition print. Spencer Tunick's temporary site-specific photographic installations have been commissioned by the XXV Biennial de Sao Paulo, Brazil (2002); Institut Cultura, Barcelona (2003); The Saatchi Gallery (2003); MOCA Cleveland (2004); Vienna Kunsthalle (2008) and MAMBO Museum of Modern Art, Bogota (2016), among others.Source: www.spencertunick.com
Graeme Purdy
Graeme Purdy
Northern Ireland
1971
Born and raised in Northern Ireland and now based in London, England. I've always loved the outdoors. Hiking, camping and being in nature have always been at the heart of fond memories and friendships. Statement For me, great images are always driven by going the extra mile. Looking at the world from a different perspective, following the beat of my own drum. Increasingly, I've fallen in love with Black & White photography, it has become a very big part of how I shoot, where I shoot and when I shoot. It has provided the creative dimension I needed. My ambition is to find fresh images. I embrace and relish the challenge of doing things differently and creating genuinely unique content. This has real-life consequences, but I am highly driven to make new and distinctive images. I am prepared to forfeit 500 good images for one that is great - and I often forfeit 500 good images for no results at all.
Flip Schulke
Flip Schulke
United States
1930 | † 2008
Flip Schulke was an American photographer, born Graeme Phillips Schulke. He grew up in New Ulm, Minnesota. Schulke's nickname "Flip" came about from his interest in gymnastics. He graduated from Macalester College, then moved to Miami. He taught briefly at the University of Miami, then began working as a freelance photographer. He worked for Life , and covered a variety of events, including the Cuban revolution. In 1962, he visited and photographed the Berlin Wall. Schulke began photographing the civil rights movement in the American south as early as 1956. He formed a bond with civil rights activist Martin Luther King, Jr. after an all-night conversation in 1958, and began photographing him. King invited Schulke to photograph secret planning meetings of the Southern Christian Leadership Conference, though not all of the activists trusted him being there. He also photographed the 1963 March on Washington and the 1965 Selma to Montgomery March. They traveled together until King's death in 1968, which upset Schulke so much that he stopped covering the civil rights movement and began to work on more commercial projects. In all, he took around 11,000 photographs of King, including some of his funeral. Schulke photographed Muhammad Ali, Jacques Cousteau, Fidel Castro and John F. Kennedy. He also was a photographer for the Environmental Protection Agency's Documerica program in the early 1970s. Schulke died on May 15, 2008 at age 77. The Dolph Briscoe Center for American History at the University of Texas at Austin holds 300,000 of his photographs. His photographs are also held in a variety of museums, including the Harvard Art Museums, the Cleveland Museum of Art, the National Museum of American History, the University of Michigan Museum of Art, the Minneapolis Institute of Art, and the Lehigh University Art Galleries.Source: Wikipedia My biggest problem with young photographers is that they don't think about context. They think about drama. You've got to know where to point your camera. -- Flip Schulke When the Berlin Wall came down, thousands of people from around the world converged to celebrate the end of over 40 years of a divided Europe. Among them was American photojournalist Flip Schulke, who had visited the wall many times since it was erected in 1961 in an attempt to document what he described as "man's physical ability to build a bastion between himself and his own dignity, if he tries hard enough". As he mingled with the crowd, he heard on their lips not a German protest song, but the famous American civil rights anthem "We shall overcome". It was a song he knew well. As a photojournalist in the 1950s and 1960s, Schulke captured many significant moments in the nation's struggle for civil rights in the 1960s, such as the marches to end segregation from Selma to Montgomery, Alabama, and Martin Luther King's funeral in 1968. After the Berlin Wall went up in 1961, Schulke brought his civil rights experiences with him as he attempted to capture the wall's symbolic and physical power. "This is the wall that fear built," Schulke wrote in notes during his visit to the wall in 1962. "This was the wall where hate stood guard, and men stooped much lower than angels. On one side it was bright and clean from the sun of freedom. (On) the other dark and bitter - the rot of slavery." Comprised of bricks, mortar, steel wire and jagged glass fragments to deter climbers, the wall both appalled and shocked Schulke, who described it as having a "jerry built" look. "It just can't be real," he noted, adding that the wall was a "monument to human misery" that "splits the world in half like a melon". He recalled how on the western side German children played tag in the shadows of tank traps while on the other side children stood "dull-eyed and pinch-faced in darkened doorways - wondering how one learns to laugh". As East German guards looked at him through their binoculars, Schulke observed recent East German escapees in West Berlin standing near the wall and signaling to friends and relatives back in East Berlin or waiting for relatives to appear. "One woman waited five hours to see her mother who never turned up," Schulke wrote. "Another couple stood by the River Spree, the girl crying softly, trying to catch a glimpse of her mother across the river." During Schulke's early coverage of the civil rights movement, he had a relatively balanced journalistic outlook and tried to see both sides, says Gary Truman, a long-time friend and former colleague. "But that faded quickly because he said that sometimes there is no other reasonable opposite view, there was only right and wrong," Truman says. "I think his coverage of the Berlin Wall stated immediately: this simply is wrong." Schulke saw both the wall and the civil rights movement as part of "a greater conflict over universal human freedoms," says Truman, who became the archivist of Schulke's photo collection after the photographer's death in 2008. "Similarities always exist in the artist's eyes." Schulke was far from alone in seeing the parallels between division in America and in Berlin. Even before the famous "Ich bin ein Berliner" speech by President John F Kennedy, his brother Robert Kennedy came to Berlin as US Attorney General in February 1962. "For a hundred years, despite out protestations of equality, we had, as you know, a wall of our own - a wall of segregation erected against Negroes," Kennedy said. "That wall is coming down."Source: BBC
Maurice Pellosh
Maurice Pellosh
Congo
1951 | † 2023
Maurice Bidilou was born on August 15, 1951, in Bouansa (formerly Le Briz). At the age of 16, he moved to Pointe-Noire to live with his brother. After taking on a few odd jobs, his uncle encouraged him to learn a trade. This led Maurice to a 19-month apprenticeship at "Studio Jeanot Père," which he began in exchange for a bunch of bananas, a demijohn of wine, a chicken, and 20,000 CFA francs. During this time, he mastered the art of being a portrait photographer, a craft that would become his lifelong passion. At the time, it was fashionable to have a nickname. Maurice explained that around the age of 11, he played with letters and came up with the word "Pellosh," giving it an American-sounding ending. Long before becoming a photographer, his friends and family were already calling him Pellosh—a name that seemed to foreshadow his destiny. [NB: In French, the word péloche (which sounds the same as Pellosh) means "film."] In December 1973, Maurice Bidilou opened his own photo studio, "Studio Pellosh," near the main market in a bustling neighborhood. The studio remained open until 2016. It quickly became a success. In addition to offering traditional ID photos, "Studio Pellosh" gained a reputation as the go-to place for families, couples, friends, and "sapeurs" eager to immortalize their happiness and symbols of success on film. In the evenings, Pellosh frequented bars, dance halls, and concerts, mingling with the Congolese youth reveling in their newfound independence. Across from Studio Pellosh, the bar-dancing club "Chez Fofo" became his favorite weekend hangout. During the 1970s, the Sape movement—The Society of Ambiance-Makers and Elegant People—was in full swing. The clientele of Pointe-Noire sought carefully crafted souvenir portraits to share with loved ones, often ordering enlargements. These photos became elaborate compositions featuring symbolic accessories of wealth (transistor radios, mopeds, books, cigarettes) and beauty (bags, sunglasses, hats, suits). Artificial lighting allowed for photography at any time of day or night. Starting in 1985, the disappearance of black-and-white development products in Congo forced Pellosh to transition to color photography. A decade later, the rise of digital photography signaled the inevitable end of his studio. Maurice passed away on May 25, 2023, surrounded by decor from his former studio, dozens of Kodak boxes filled with negatives, and photographic equipment. His death, at the age of 71, was caused by severe malaria and a hip fracture. He leaves behind his wife, Jackie, and their six daughters—Mauricette, Aude, Inès, Alida, Ghéraude, and Carmelle—as well as 17 grandchildren, all of whom are proud and dedicated to preserving Maurice’s legacy. Since 2020, this work has been championed by Emmanuèle Béthery, who has brought new recognition to Maurice's artistry.
Joakim Strömholm
Joakim Strömholm
Sweden
1947
Joakim Strömholm is a Swedish photographer, well-known for documentations of music, film and TV-productions, theater, musicals and showbiz. His father Christer Strömholm wanted him to become a restaurant chef or a doctor. "As such, you will always find a job. You can not survive as a photographer.” But he gave him a Leica and access to his darkroom, and Joakim has worked with photography since then! He has also tried professions such as guide in Paris, swimming instructor, darkroom printer, photography teacher and has worked as a "jack of all trades" on movie sets. Among other things, Joakim was Brigitte Bardots personal driver during a film shoot in Sweden 1972. Finally he became a film-set photographer and photo editor for the Swedish TV-news. He made some documentaries and photographed a lot of rock n´roll in the 80´s and 90´s. Joakim has travelled much, to do his own photo reports and on assignments for Swedish daily, weekly and specialized press. He is the CEO for ”Christer Strömholm Estate”, and curates their book publishing and photography exhibitions.
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Exclusive Interview with Marijn Fidder
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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
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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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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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Winner of AAP Magazine #45 Travels, his series reflects this unique vision—capturing the spirit of place through subtle layers of light, color, and emotion. Whether traveling abroad or observing the rhythms of his own surroundings, Ydeen creates images that feel both grounded and enchanted, inviting viewers into a world where reality and reverie meet.
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Interview
Exclusive Interview with Ghawam Kouchaki
American photographer Ghawam Kouchaki brings a sharply observant and introspective gaze to the streets of Japan’s capital. Based in Los Angeles, he approaches Tokyo with the distance — and curiosity — of an outsider, allowing him to uncover the city’s subtle contradictions, quiet tensions, and fleeting gestures that often go unnoticed. His series Tokyo no no, selected as the Solo Exhibition for December 2024, explores the hidden undercurrents of urban life: the unspoken rules, the small ruptures in routine, the poetic strangeness found in everyday moments. Through muted tones, instinctive timing, and meticulous framing, Kouchaki reveals a Tokyo that exists somewhere between reality and imagination — both intimate and enigmatic. We asked him a few questions about his life and work.
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Exclusive Interview with Tommi Viitala
Interview
Exclusive Interview with Tommi Viitala
Tommi Viitala, winner of AAP Magazine #44: Street, is a Finnish photographer celebrated for his striking and cinematic street photography. With a keen eye for atmosphere and composition, he captures fleeting urban moments that reveal the poetry of everyday life. His work often explores the tension between solitude and connection within contemporary cityscapes, blending documentary realism with artistic sensibility. Viitala’s photographs have been exhibited internationally and recognized for their strong visual storytelling and emotional depth. We asked him a few questions about his life and work.
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Exclusive Interview with Robert Mack
Interview
Exclusive Interview with Robert Mack
Robert Mack is a California-based visual artist, photographer, and filmmaker. His fine art photography and films have been exhibited widely in the United States and Europe, with major shows at the Baltimore Museum of Art and the Reiss-Engelhorn Museum in Mannheim, Germany. Both institutions hold his work in their permanent collections. Working across different media, Mack has built a career exploring the complexities of human presence and representation. In 1981, while living in Baltimore, he produced The Perkins Project: Not Guilty by Reason of Insanity, a rare photographic and film study inside Maryland’s hospital for the criminally insane. These stark yet compassionate black-and-white portraits remain one of his most powerful and controversial bodies of work.
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Exclusive Interview with Alan Schaller About Irys
Interview
Exclusive Interview with Alan Schaller About Irys
Alan Schaller is a London-based photographer best known for his striking black-and-white street photography and as co-founder of Street Photography International, one of the largest online communities dedicated to the genre. With years of experience both behind the camera and in building platforms that give visibility to photographers, Schaller has now turned his focus to creating a new digital space for photography itself. His latest venture, Irys, is a photography app designed by photographers, for photographers, with the aim of offering a dedicated platform where images are respected as works of art rather than treated as disposable content.
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All About Photo Awards 2026
$5,000 Cash Prizes! Juror: Steve McCurry
© Fernando Morales Roca
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