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Yasuhiro Ishimoto
Yasuhiro Ishimoto

Yasuhiro Ishimoto

Country: Japan/United States
Birth: 1921 | Death: 2012

Yasuhiro Ishimoto was a well-known Japanese-American photographer known for his distinct style and contributions to the field of modernist photography. Ishimoto was born in San Francisco on June 14, 1921, and spent his childhood in Japan before returning to the United States in 1939 to further his education.

Ishimoto enrolled at the Chicago Institute of Design in the early 1940s, where he studied under influential photographers such as Harry Callahan and Aaron Siskind. During this time, Ishimoto developed his signature style, which is distinguished by dynamic compositions, bold geometric forms, and a keen sense of light and shadow.

In both Japan and the United States, Ishimoto's work frequently focused on architecture. He photographed the interplay of lines, shapes, and textures to investigate the relationship between humans and their built environment. His images of famous architectural landmarks, such as the Katsura Imperial Villa in Kyoto, demonstrated his ability to infuse tranquillity and contemplation into his photographs.

Ishimoto documented street scenes and everyday life in both Japan and America, in addition to architectural photography. He had an uncanny ability to capture candid moments and the essence of the people he met, providing a glimpse into the cultural and social fabric of the time.

Ishimoto received numerous awards and accolades for his work throughout his career. His photographs have been shown all over the world, and he has written several books, including Katsura: Picturing Modernism in Japanese Architecture and Chicago, Chicago. Ishimoto's work helped to bridge the gap between Eastern and Western photographic traditions.

Yasuhiro Ishimoto died on February 6, 2012, but his photographs will live on. His artistic vision and technical mastery continue to inspire photographers all over the world, and he has left a body of work that reflects his commitment to capturing the beauty and essence of the world around us.

 

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More Great Photographers To Discover

Anna Matysiak
Poland
1978
Anna Matysiak, born in 1978, is an independent photographer working in the fine art style. With a keen eye for detail and an innate ability to convey emotion, she particularly enjoys capturing the essence of her subjects through portrait photography. Although her educational background is in economics, her passion for the arts led her to fully immerse herself in the world of photography, a journey she began in 2020. In addition to her striking portraits, Anna's portfolio showcases an impressive array of conceptual and nude photography, highlighting her versatility and creative vision. Her work has gained significant recognition, with photographs exhibited in prestigious venues across the globe, including Tucson in the United States, London in the United Kingdom, Vien in Austria, Siena in Italy and Szczecin in Poland. Through her lens, Anna invites viewers to explore the profound beauty and complexity of the human experience. Matysiak garnering recognition in numerous prestigious international competitions. These contests were judged by a jury panel of esteemed professionals, including gallery owners, publishers, editors, and acclaimed photographers, all of whom brought a wealth of experience and expertise to their evaluations. She has received numerous prestigious awards. In 2025, she won a bronze medal in the Tokyo International Foto Awards in the Fine Art (Other) category and a special award in the Vienna International Photography Award in the Free Subject category. In 2024, she won a bronze medal in the Fine Art category at the Chromatic Awards. In 2023, she received a gold medal in the Fine Art (Other) category at the ND Awards. Since 2021, her works have also been awarded distinctions in the Creative Photo Awards (Siena Awards), International Photography Awards, Fine Art Photography Awards, Annual Photography Awards, and Budapest International Foto Awards. Currently based in Szczecin, Poland. STATEMENT: "When I embarked on my journey into photography, my initial focus was primarily on portrait photography, capturing the essence of people as they were. However, deep down, I yearned to express more than just a straightforward depiction. As time passed, my artistic vision evolved, heavily influenced by the remarkable artists I held in high regard— distinguished photographers and talented painters whose works stirred something within me. I increasingly felt compelled to illustrate people and places through my lens, revealing how I perceive their beauty and intricacies. My aim was to highlight my subjects' hidden depths, enabling them to resonate with viewers on a reflective level. In the present day, my creative process often revolves around symbolism. I cherish the notion that viewers can engage with my images, pondering their meanings and engaging in conversations about them. The nature of my work is significantly shaped by my surroundings. Every photograph I take is a product of the environment and the individuals I encounter throughout my journey. A distinct location may ignite a vision for an artistic photograph, while an intriguing individual might inspire a unique portrait. Even melodies in my surroundings can trigger the imagery I wish to convey and the narratives I long to tell. When approaching the creation of conceptual photography, I immerse myself in meticulous preparation. Each detail is carefully curated to ensure the final presentation aligns with my artistic intent. While the subject matter varies widely, a common thread runs through all my work: capturing the viewer's attention enough to provoke thought and facilitate the discovery of more profound messages. Photography is not just a pursuit for me - it is a rofound passion that fills my heart with joy. This joy magnifies with the reach of my audience. Each accolade, award, and exhibition serves as wings that propel me forward, motivating me to delve deeper into my art. I believe that every artist crafts their work with an audience in mind. As I maintain a critical eye on my creations, the praise and recognition I receive from esteemed figures in the photographic world inspire me to elevate my craft, embrace new challenges, and continue this exhilarating journey of self-expression."
Mark Steinmetz
United States
1961
Mark Christopher Steinmetz (born 1961) is an American photographer. He makes black and white photographs "of ordinary people in the ordinary landscapes they inhabit". Steinmetz's work was shown in a group exhibition at the Museum of Modern Art, New York in 1993/1994 and in solo exhibitions at the Ogden Museum of Southern Art in 2015, the High Museum of Art in 2018 and at Fotohof in Salzburg, Austria in 2019. He is the recipient of a Guggenheim Fellowship. His work is held in the collections of the Art Institute of Chicago, Hunter Museum of American Art, Museum of Contemporary Photography, Chicago, Metropolitan Museum of Art, Whitney Museum of American Art and Museum of Modern Art, New York, and Nelson-Atkins Museum of Art. Steinmetz was born in New York City and raised in the Boston suburbs of Cambridge and Newton until he was 12. He then moved to the midwest before, aged 21, he went to study photography at the Yale School of Art in New Haven, Connecticut. He left that MFA program after one semester and in mid 1983, aged 22, moved to Los Angeles in search of the photographer Garry Winogrand, whom he befriended. He moved to Athens, Georgia in 1999 and was still living and working there as of 2017. Marc Steinmetz makes photographs "of ordinary people in the ordinary landscapes they inhabit", and "in the midst of activity". Most of his work has been made in the USA but also in Berlin, Paris, and Italy. His books combine portraits (portrait-like but spontaneous) and candid photos of people, and also include animals and still life photos. He finds many of his subjects whilst walking around but he has also spent time at Little League Baseball and summer camps. Steinmetz predominantly works with black and white film, usually medium format, developed and printed in his own darkroom. He has mostly worked the same way with the same film, chemicals, and cameras since beginning in the mid 1980s.Source: Wikipedia Mark Steinmetz is an Athens, Georgia-based photographer whose work captures black-and-white images of Southern Americana as seen in urban, rural and suburban landscapes. “I like to stress the poetry and ambiance of a place, while still trying to be truthful,” he has remarked, and his candid shots of everyday life reflect this statement. Examples of this sentiment are strikingly portrayed in Steinmetz's new photo series Terminus, showing the everyday moments of people passing through airports. “At the airport, people from all over the world and from all walks of life can be found in the midst of their journeys,” Mark Steinmetz has said. “Though my main subject has been the passengers, I am also photographing the people who work at the airport, the interiors and exteriors of the planes, as well as the hotels, parking lots and neighborhoods that surround and support the airport.” Mark Steinmetz draws inspiration from a number of Southern artists whose talents extend beyond the realm of photography, and has remarked “the South has many great writers—William Faulkner, Flannery O'Connor, Carson McCullers—and they've influenced me.” Surprisingly, Mark Steinmetz did not originate in the South. In fact, he attended high school in Iowa and received his MFA from Yale University in 1986. (Though he initially dropped out in 1983 in order to move to Los Angeles and work with photographer Garry Winogrand) It wasn’t until 1999 that he left shooting freelance in Chicago and moved south for a teaching job at the University of Tennessee. He has remained in the South ever since. “I love the South for the weeds growing through the cracks of its sidewalks, for its humidity and for its chaos,” he has said. Interestingly, Mark Steinmetz has worked with analog since the beginning of his career, and even uses the same camera, film and development process today as he did as a novice photographer. Mark Steinmetz’ monographs include South Central (2007), South East (2008), Greater Atlanta (2009) and Summertime (2012). He has also been published in Aperture, Blind Spot and DoubleTake magazines. In 1994, he was awarded a Guggenheim Fellowship, and in 1998 he participated in Light Work’s Artist-in-Residence Program. Mark Steinmetz has taught at a number of institutions, including Harvard, Sarah Lawrence College, Emory University and Yale. Steinmetz’ photos can be found in the collections of The Museum of Modern Art, The Metropolitan Museum of Art, The Whitney Museum of American Art, The Art Institute of Chicago and the Los Angeles County Museum of Art.Source: Jackson Fine Art
Andreas Feininger
United States
1906 | † 1999
Andreas Bernhard Lyonel Feininger (December 27, 1906 - February 18, 1999) was an American photographer and a writer on photographic technique. He was noted for his dynamic black-and-white scenes of Manhattan and for studies of the structures of natural objects. Feininger was born in Paris, France, the eldest son of Julia Berg, a German Jew, and the American painter and art educator Lyonel Feininger (1871-1956). His paternal grandparents were the German violinist Karl Feininger (1844-1922) and the American singer Elizabeth Feininger, (née Lutz), who was also of German descent. His younger brother was the painter and photographer T. Lux Feininger (1910-2011). In 1908 the Feininger family moved to Berlin, and in 1919 to Weimar, where Lyonel Feininger took up the post of Master of the Printing Workshop at the newly formed Bauhaus art school. Andreas left school at 16, in 1922, to study at the Bauhaus; he graduated as a cabinetmaker in April 1925. After that he studied architecture, initially at the Staatliche Bauschule Weimar (State Architectural College, Weimar) and later at the Staatliche Bauschule Zerbst. (Zerbst is a city in the German state of Saxony-Anhalt, about 20 km from Dessau, where the Bauhaus moved to in 1926.) The Feininger family moved to Dessau with the Bauhaus. In addition to continuing his architectural studies in Zerbst, Andreas developed an interest in photography and was given guidance by neighbour and Bauhaus teacher László Moholy-Nagy. In 1936, he gave up architecture and moved to Sweden, where he focused on photography. In advance of World War II, in 1939, Feininger immigrated to the U.S. where he established himself as a freelance photographer. In 1943 he joined the staff of Life magazine, an association that lasted until 1962. Feininger became famous for his photographs of New York. Other frequent subjects among his works were science and nature, as seen in bones, shells, plants, and minerals in the images of which he often stressed their structure. Rarely did he photograph people or make portraits. Feininger wrote comprehensive manuals about photography, of which the best known is The Complete Photographer. In the introduction to one of Feininger's books of photographs, Ralph Hattersley, the editor of the photography journal Infinity, described him as "one of the great architects who helped create photography as we know it today." In 1966, the American Society of Media Photographers (ASMP) awarded Feininger its highest distinction, the Robert Leavitt Award. In 1991, the International Center of Photography awarded Feininger the Infinity Lifetime Achievement Award. Today, Feininger's photographs are in the permanent collections of the Center for Creative Photography, the Museum of Modern Art, the Metropolitan Museum of Art, the National Gallery of Art, London's Victoria and Albert Museum, and the George Eastman House in Rochester, New York. Source: Wikipedia
John Kenny
United Kingdom
In 2006 I developed my style of portrait photography within traditional communities, heavily influenced by the dramatic pictures of chiaroscuro artists. Chiaroscuro is an Italian term which literally means light-dark. Back then, at the very start of my Africa journey, I was buzzing with energy having met people of real magnetism just days into my trip. I was excited by extraordinary people and fascinating cultures and wondered how I could possibly communicate and express these feelings of excitement to friends and family back home.The solution, I imagined, would involve abstracting the remarkable from the not so remarkable: put simply, I felt that the vibrant and intense individuals that I had met in traditional communities would best show their magnetism on camera when they were removed from the (often) dull and dusty backgrounds of their immediate environment. After a few days I started to imagine each of these people in front of me emerging from the nothingness of darkness, with no distractions, hoping that this would provide a real feeling of proximity between the viewer and the person in the picture. I made a conscious decision at that time to leave a more documentary style of environmental portraiture to others. Practicing this new technique in remote African villages in 2006 I had nothing but sunshine and a hut available as a great ‘open studio': so I used these parameters and started experimenting (I've never really liked flash anyway). So it's simply the illumination of natural sunlight, and sun on dry earth, that reaches into the darkness of huts and lights up these remarkable people. Sun and dry earth are the only ingredients required for the lighting in my prints. And of course, you also need to find exceptional people!Falling in love with photography, and the origins of this series:I first fell in love with photography around 2003. I had not been fortunate enough to receive an art or photography education, but I knew back then, when I picked up my first SLR camera, that I had found the perfect way to express myself. Every time I had the camera in my hand I was looking to improve, needing to know what everything and anything looked like once it had been through the photographic process. It was a bit like a mad pursuit of alchemy - throwing everything into the mix to see if any magic came out of the other side. The process of photographic learning is very rarely a simple one, but to me it remains beautiful: discoveries, experimentation and seeing for the first time how a camera distorts and enhances the world.In Africa I seem to have made it my goal to travel through some of the remotest areas of the continent where the reaches of urbanisation and 21st century living are barely detectable. Looking back, this wasn’t my intention when I first arrived there in 2006, but somehow I keep returning to Africa to photograph because I'm fascinated to encounter societies that are able to survive in some of the most arid, isolated and difficult environments that people have settled in. If you haven’t visited these places then the reality of living is not nearly as romantic or idealised as one might imagine. Life takes place against a backdrop of very uncertain resources and enormous hardships, but traditions and hospitality towards outsiders remain intact.I specifically chose to photograph the individuals that you see in these galleries because I had a very real sense of wonder when I met them. Each one of these people had something that attracted me, sometimes a piercing intensity, or an uncommon beauty, that I felt compelled to try and capture. It’s true that I photograph for myself, first and foremost, but a close second is my desire to show others this magnetism that draws one into the eyes of these fascinating people.I have usually travelled alone or with a guide on these journeys, along the way walking and hopping onto overloaded vehicles of every kind to head to remote settlements. Often the destination is a transient, weekly market where hundreds of vibrant, colourful people assemble somewhat incongruously against a dull, dusty backdrop for a few hours. Later in the day they will all melt away with their animals and traded possessions, until the location is again a patch of bone-dry ground with almost nothing to separate it from the rest of the featureless land that typifies much of the African Sahel. It is fascinating to observe this process play out in almost exactly the same way across countless African countries, many of which are separated by hundreds or thousands of miles across this huge continent’s surface.My favourite tools are sharp prime lenses and cameras that let you capture the tiniest pieces of detail: whilst these details may be insignificant alone, when aggregated I feel they help paint the picture of the environment and how each person adapts to theirs.My favourite series of work remains the Northern Kenya series which involved 6 weeks of intense travelling with my guide, Mo, across remote areas without a vehicle and often without any semblance of an idea how to get to the next tiny settlement. The trip was full of unique encounters in locations that seemed to be famous, to me at least, as places where no transport seemed to be heading. On one particular occasion we came across a lone Moran (warrior) emerge into the dawn light, miles from anywhere. He seemed like a mirage: a vibrant vision in pink cloth and bright colourful jewellery, and more acutely so when set against the hazy yellow monotone of land that he emerged from. Even for Northern Kenya, I thought he seemed to be in a remote, featureless location: devoid of any water, and within an hour it would again be blistering hot. Despite these uncomfortable realities - which clearly weighed more heavily on my mind than his - the warrior seemed confident of his bearings and stopped for a moment to exchange pleasantries with Mo and I. A couple of minutes later, after sharing cigarette with my guide, he purposefully set off walking again, to God knows where. This place that looked barren and foreboding, to me at least, was clearly his home.
Man Ray
United States
1890 | † 1976
Man Ray (born Emmanuel Radnitzky) was an American visual artist who spent most of his career in Paris. He was a significant contributor to the Dada and Surrealist movements, although his ties to each were informal. He produced major works in a variety of media but considered himself a painter above all. He was best known for his pioneering photography, and was a renowned fashion and portrait photographer. He is also noted for his work with photograms, which he called "rayographs" in reference to himself. During his career, Man Ray allowed few details of his early life or family background to be known to the public. He even refused to acknowledge that he ever had a name other than Man Ray. Man Ray's birth name was Emmanuel Radnitzky. He was born in South Philadelphia, Pennsylvania, on August 27, 1890. He was the eldest child of Russian Jewish immigrants Melach "Max" Radnitzky, a tailor, and Manya "Minnie" Radnitzky (née Lourie or Luria). He had a brother, Sam, and two sisters, Dorothy "Dora" and Essie (or Elsie), the youngest born in 1897 shortly after they settled at 372 Debevoise St. in the Williamsburg neighborhood of Brooklyn, New York. In early 1912, the Radnitzky family changed their surname to Ray. Man Ray's brother chose the surname in reaction to the ethnic discrimination and antisemitism prevalent at the time. Emmanuel, who was called "Manny" as a nickname, changed his first name to Man and gradually began to use Man Ray as his name. I photograph what I do not wish to paint and I paint what I cannot photograph. -- Man Ray Man Ray's father worked in a garment factory and ran a small tailoring business out of the family home. He enlisted his children to assist him from an early age. Man Ray's mother enjoyed designing the family's clothes and inventing patchwork items from scraps of fabric. Man Ray wished to disassociate himself from his family background, but their tailoring left an enduring mark on his art. Mannequins, flat irons, sewing machines, needles, pins, threads, swatches of fabric, and other items related to tailoring appear in almost every medium of his work. Art historians have noted similarities between Ray's collage and painting techniques and styles used for tailoring. His education at Brooklyn's Boys' High School from 1904 to 1909 provided him with solid grounding in drafting and other basic art techniques. While he attended school, he educated himself with frequent visits to the local art museums, where he studied the works of the Old Masters. After his graduation, Ray was offered a scholarship to study architecture but chose to pursue a career as an artist. Man Ray's parents were disappointed by their son's decision to pursue art, but they agreed to rearrange the family's modest living quarters so that Ray's room could be his studio. The artist remained in the family home over the next four years. During this time, he worked steadily towards becoming a professional painter. Man Ray earned money as a commercial artist and was a technical illustrator at several Manhattan companies. The surviving examples of his work from this period indicate that he attempted mostly paintings and drawings in 19th-century styles. He was already an avid admirer of contemporary avant-garde art, such as the European modernists he saw at Alfred Stieglitz's "291" gallery and works by the Ashcan School. However, with a few exceptions, he was not yet able to integrate these trends into his own work. The art classes he sporadically attended, including stints at the National Academy of Design and the Art Students League, were of little apparent benefit to him. When he enrolled in the Ferrer School in the autumn of 1912, he began a period of intense and rapid artistic development. While living in New York City, Man Ray was influenced by the avant-garde practices of European contemporary artists he was introduced to at the 1913 Armory Show and in visits to Alfred Stieglitz's "291" art gallery. His early paintings display facets of cubism. After befriending Marcel Duchamp, who was interested in showing movement in static paintings, his works began to depict movement of the figures. An example is the repetitive positions of the dancer's skirts in The Rope Dancer Accompanies Herself with Her Shadows (1916). In 1915, Man Ray had his first solo show of paintings and drawings after he had taken up residence at an art colony in Grantwood, New Jersey, across the Hudson River from New York City. His first proto-Dada object, an assemblage titled Self-Portrait, was exhibited the following year. He produced his first significant photographs in 1918, after initially picking up the camera to document his own artwork. Man Ray abandoned conventional painting to involve himself with Dada, a radical anti-art movement. He published two Dadaist periodicals, and each only had one issue, The Ridgefield Gazook (1915) and TNT (1919), the latter co-edited by Adolf Wolff and Mitchell Dawson. He started making objects and developed unique mechanical and photographic methods of making images. For the 1918 version of Rope Dancer, he combined a spray-gun technique with a pen drawing. Like Duchamp, he worked with readymade—ordinary objects that are selected and modified. His Gift readymade (1921) is a flatiron with metal tacks attached to the bottom, and Enigma of Isidore Ducasse is an unseen object (a sewing machine) wrapped in cloth and tied with cord. Aerograph (1919), another work from this period, was done with airbrush on glass. In 1920, Man Ray helped Duchamp make the Rotary Glass Plates, one of the earliest examples of kinetic art. It was composed of glass plates turned by a motor. That same year, Man Ray, Katherine Dreier, and Duchamp founded the Société Anonyme, an itinerant collection that was the first museum of modern art in the U.S. In 1941 the collection was donated to Yale University Art Gallery. Man Ray teamed up with Duchamp to publish one issue of New York Dada in 1920. For Man Ray, Dada's experimentation was no match for the wild and chaotic streets of New York. He wrote that "Dada cannot live in New York. All New York is dada, and will not tolerate a rival." In 1913, Man Ray met his first wife, the Belgian poet Adon Lacroix (Donna Lecoeur) (1887–1975), in New York. They married in 1914, separated in 1919, and formally divorced in 1937. In July 1921, Man Ray went to live and work in Paris, France. He soon settled in the Montparnasse quarter favored by many artists. His accidental rediscovery of the cameraless photogram, which he called "rayographs", resulted in mysterious images hailed by Tristan Tzara as "pure Dada creations". Shortly after arriving in Paris, he met and fell in love with Kiki de Montparnasse (Alice Prin), an artists' model and celebrated character in Paris bohemian circles. Kiki was Man Ray's companion for most of the 1920s. She became the subject of some of his most famous photographic images, and starred in his experimental films Le Retour à la Raison and L'Étoile de mer. In 1929, he began a love affair with the Surrealist photographer Lee Miller. She also was his photographic assistant and together, they reinvented the photographic technique of solarization. Miller left him in 1932. From late 1934 until August 1940, Man Ray was in a relationship with Adrienne Fidelin. She was a Guadeloupean dancer and model and she appears in many of his photographs. When Ray fled the Nazi occupation in France, Adrienne chose to stay behind to care for her family. Unlike the artist's other significant muses, until 2022, Fidelin had largely been written out of his life story. Man Ray was a pioneering photographer in Paris for two decades between the wars. Significant members of the art world, such as Pablo Picasso, Tristan Tzara, James Joyce, Gertrude Stein, Jean Cocteau, Salvador Dalí, Peggy Guggenheim, Bridget Bate Tichenor, Luisa Casati, and Antonin Artaud, posed for his camera. Man Ray's international fame as a portrait photographer is reflected in a series of photographs of Maharajah Yashwant Rao Holkar II and his wife Sanyogita Devi from their visit to Europe in 1927. In the winter of 1933, surrealist artist Méret Oppenheim, known for her fur-covered teacup, posed nude for Man Ray in a well-known series of photographs depicting her standing next to a printing press. His practice of photographing African objects in the Paris collections of Paul Guillaume and Charles Ratton and others led to several iconic photographs, including Noire et blanche. As Man Ray scholar Wendy A. Grossman has illustrated, "no one was more influential in translating the vogue for African art into a Modernist photographic aesthetic than Man Ray." Man Ray was represented in the first Surrealist exhibition with Jean Arp, Max Ernst, André Masson, Joan Miró, and Pablo Picasso at the Galerie Pierre in Paris in 1925. Important works from this time were a metronome with an eye, originally titled Object to Be Destroyed, and the Violon d'Ingres, a stunning photograph of Kiki de Montparnasse, styled after the painter/musician Ingres. Violon d'Ingres is a popular example of how Man Ray could juxtapose disparate elements in his photography to generate meaning. Man Ray directed a number of influential avant-garde short films, known as Cinéma Pur. He directed Le Retour à la Raison (2 mins, 1923); Emak-Bakia (16 mins, 1926); L'Étoile de Mer (15 mins, 1928); and Les Mystères du Château de Dé (27 mins, 1929). Man Ray also assisted Marcel Duchamp with the cinematography of his film Anemic Cinema (1926), and Ray personally manned the camera on Fernand Léger's Ballet Mécanique (1924). In René Clair's film Entr'acte (1924), Man Ray appeared in a brief scene playing chess with Duchamp. Duchamp, Man Ray, and Francis Picabia were all friends and collaborators, connected by their experimental, entertaining, and innovative art. The Second World War forced Man Ray to return from Paris to the United States. He lived in Los Angeles from 1940 to 1951 where he focused his creative energy on painting. A few days after arriving in Los Angeles, he met Juliet Browner, a first-generation American of Romanian-Jewish lineage. She was a trained dancer who studied dance with Martha Graham, and an experienced artists' model. They married in 1946 in a double wedding with their friends Max Ernst and Dorothea Tanning. In 1948 Ray had a solo exhibition at the Copley Galleries in Beverly Hills, which brought together a wide array of work and featured his newly painted canvases of the Shakespearean Equations series. Man Ray returned to Paris in 1951, and settled with Juliet into a studio at 2 bis rue Férou near the Luxembourg Gardens in St. Germain-des-Prés, where he continued his creative practice across mediums. During the last quarter century of his life, he returned to a number of his iconic earlier works, recreating them in new form. He also directed the production of limited-edition replicas of several of his objects, working first with Marcel Zerbib and later Arturo Schwarz. In 1963, he published his autobiography, Self-Portrait (republished in 1999). Ray continued to work on new paintings, photographs, collages and art objects till his death. Retrieved August 19, 2022. He died in Paris on November 18, 1976, from a lung infection. He was interred in the Cimetière du Montparnasse in Paris. His epitaph reads "Unconcerned, but not indifferent". When Juliet died in 1991, she was interred in the same tomb. Her epitaph reads "Together again". Juliet organized a trust for Ray's work and donated much of his work to museums. Her plans to restore the studio as a public museum proved too expensive; such was the structure's disrepair. Most of the contents were stored at the Centre Pompidou.Source: Wikipedia Speaking of nudes, I have always had a great fondness for this subject, both in my paintings and in my photos, and I must admit, not for purely artistic reasons. -- Man Ray “I have finally freed myself from the sticky medium of paint, and am working directly with light itself.” So enthused Man Ray in 1922, shortly after his first experiments with camera-less photography. He remains well known for these images, commonly called photograms but which he dubbed "rayographs" in a punning combination of his own name and the word “photograph.” Man Ray’s artistic beginnings came some years earlier, in the Dada movement. Shaped by the trauma of World War I and the emergence of a modern media culture—epitomized by advancements in communication technologies like radio and cinema—Dada artists shared a profound disillusionment with traditional modes of art making and often turned instead to experimentations with chance and spontaneity. In The Rope Dancer Accompanies Herself with Her Shadows, Man Ray based the large, color-block composition on the random arrangement of scraps of colored paper scattered on the floor. The painting evinces a number of interests that the artist would carry into his photographic work: negative space and shadows; the partial surrender of compositional decisions to accident; and, in its precise, hard-edged application of unmodulated color, the removal of traces of the artist’s hand. In 1922, six months after he arrived in Paris from New York, Man Ray made his first rayographs. To make them, he placed objects, materials, and sometimes parts of his own or a model's body onto a sheet of photosensitized paper and exposed them to light, creating negative images. This process was not new—camera-less photographic images had been produced since the 1830s—and his experimentation with it roughly coincided with similar trials by Lázló Moholy-Nagy. But in his photograms, Man Ray embraced the possibilities for irrational combinations and chance arrangements of objects, emphasizing the abstraction of images made in this way. He published a selection of these rayographs—including one centered around a comb, another containing a spiral of cut paper, and a third with an architect’s French curve template on its side—in a portfolio titled Champs délicieux in December 1922, with an introduction written by the Dada leader Tristan Tzara. In 1923, with his film Le Retour à la raison (Return to Reason), he extended the rayograph technique to moving images. Around the same time, Man Ray’s experiments with photography carried him to the center of the emergent Surrealist movement in Paris. Led by André Breton, Surrealism sought to reveal the uncanny coursing beneath familiar appearances in daily life. Man Ray proved well suited to this in works like Anatomies, in which, through framing and angled light, he transformed a woman’s neck into an unfamiliar, phallic form. He contributed photographs to the three major Surrealist journals throughout the 1920s and 1930s, and also constructed Surrealist objects like Gift, in which he altered a domestic tool (an iron) into an instrument of potential violence, and Indestructible Object (or Object to Be Destroyed), a metronome with a photograph of an eye affixed to its swinging arm, which was destroyed and remade several times.Source: The Museum of Modern Art
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American photographer Matthew Finley turns inward, using photography as a way to explore identity, memory, and emotional truth. Based in Los Angeles, his practice moves between performance, gesture, and found imagery, creating a visual language that is both intimate and deeply personal
Exclusive Interview with Jan Janssen
Dutch photographer Jan Janssen explores universal human experiences through his long-term project It Matters, winner of the May 2025 Solo Exhibition. Begun in 2016, the series captures intimate moments of everyday life—love, loss, connection, and belonging—across Central and Eastern Europe. Working in countries such as Turkey, Azerbaijan, and Armenia, Janssen spends extended time within communities, building relationships based on trust and respect. His approach allows him to move beyond observation, revealing deeply human and authentic moments. Rooted in travel and personal discovery, It Matters reflects Janssen’s search for what connects us all in an increasingly divided world. The project is ongoing and will culminate in a photobook scheduled for publication in 2026.
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.
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.
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.
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.
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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