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Luigi Ghirri
Luigi Ghirri

Luigi Ghirri

Country: Italy
Birth: 1943 | Death: 1992

Luigi Ghirri, born on January 5, 1943, in Scandiano, Emilia-Romagna, Italy, was a trailblazing photographer renowned for his innovative use of color. Ghirri's early life in this picturesque region profoundly influenced his artistic vision. Initially trained as a surveyor, he began experimenting with photography in the early 1970s, a time when the medium was predominantly monochrome and used mainly for documentation and advertising.

Ghirri diverged from the norm by embracing color photography as a legitimate artistic form. His work delved into the social and cultural changes sweeping through Italy during the 1970s, particularly the infiltration of advertising and the rise of leisure activities. His images often feature everyday scenes, landscapes, and urban environments, infused with a sense of nostalgia and contemplation. He had an uncanny ability to find beauty in the mundane, transforming ordinary moments into profound visual narratives.

One of Ghirri's most significant contributions was his ability to convey the evolving identity of post-war Italy. His photographs from this era provide a vivid chronicle of the shifting social landscape, marked by consumerism and modernity, yet always maintaining a deep connection to the region's history and traditions.

In 1978, Ghirri published his first book, "Kodachrome," which became a seminal work in the field of color photography. This collection showcased his unique perspective and solidified his reputation as a visionary artist. He continued to produce influential works throughout the 1980s, including notable projects like "Il Profilo delle Nuvole" and "Viaggio in Italia," which further explored themes of travel, memory, and the passage of time.

Ghirri's approach was both methodical and poetic. He meticulously composed his shots, paying close attention to light, color, and composition. His photographs often feature elements of surrealism and irony, inviting viewers to see the world through his distinctive lens.

Despite his untimely death on February 14, 1992, Ghirri's legacy endures. His work has been celebrated in numerous exhibitions and retrospectives worldwide, influencing generations of photographers. Luigi Ghirri remains a pivotal figure in the history of photography, revered for his pioneering use of color and his profound ability to capture the essence of a changing Italy.
 

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Madhur Dhingra
I was born an only child to my parents, in Delhi, into a family torn apart by the aftermath of the India-Pakistan partition. Hailing from a affluent background in Pakistan my family was now struggling for survival in the walled city of Delhi totally penniless. Imbedded with deep insecurities and freshly bearing the scars of partition my family was now setting up trade in the walled city dealing in fabric. It is relevant for me to mention this background for these very insecurities I too inherited from my family and they remain with me till date even with the changed times and lifestyle. Things improved gradually financially, with the trade flourishing and much because of the sheer hard work of my grandfather, father& chachas(father's brothers).We settled in Delhi at the start as big joint family. I have grown up hearing tales of how we had started life selling fabric on the pavements of the walled city where we now own several properties. My father could never get over those scars of partition. I too was repeatedly made to realize that ( for better or for worse) even though I was born much later in Delhi. At the age of five I was put to school at St.Xavier's High School, Raj Niwas Marg, Delhi. That period was to become the most memorable part of my life. I remember enjoying that period thoroughly. I was always an above average student with a lot of love for extracurricular activities. In school I would love going hiking, camping, swimming & cycling with the boy scouts. From the very start I was naughty and mischievous and was a regular in getting in and out of trouble. After school I went to the Delhi University and took up English Hons as my subject. But nowhere was it in my mind to take up studies serious. Restless from the start I wanted to travel the world. I now join the Merchant Navy at the age of seventeen ,as a deck cadet leaving college in the first year itself. I loved this new experience and was good at learning navigation. Very soon I was promoted to become the navigating officer. For the first year I never came back home at all. I was fulfilling my desire to see the world thoroughly meeting different types of people and experiencing different kinds of cultures . Once while travelling in the city of Jeddah near Mecca during Ramadan I was amazed to see gold slabs and coins being sold on the pavements of the city. On the loudspeaker I then heard the azaan (prayer call) and to my utter astonishment I saw people leave all this gold unattended and enter the nearby mazjid for prayer. Such was the strictness of the prevailing law of the land that anybody caught stealing would have his hand chopped off. Nobody dared to steal. Now quite a different experience was when my ship first entered Thailand. To my utter surprise I saw hoards of women entering my ship. Their numbers must have been no less than a hundred odd. I was on duty and I objected to their entry and was immediately informed by my senior officer to back off as they were entering with the permission of the captain. These were prostitutes who stayed on my ship till the time it stayed there. Nobody was questioning the morality or the ethics. It was gala time for all officers, crew, and the Captain. This was the way of life for most sailors . One horrific incident I remember was when our Burmese radio officer died on the ship due to a liver problem. As we were still some days away from the next port,his body was put in the deep freezer of the ship, the same place where all vegetables and other eatables were stored. Life was going on as if nothing had happened and everybody was eating and drinking as any other day. In a ship life all relationships and friendships are very temporary and the moment a person gets off the ship all these are left behind and forgotten. My bag of experiences was filling up fast. The restlessness and void was again setting in fast. I was getting bored again after about five years of sailing. The novelty had worn off and my inherent nature and upbringing was not that of a sailor in any way .I finally decided to say quits and joined the family business which was waiting for me to return. My dad was overjoyed at this decision of mine. I had no problem settling into this environment as it just happened to be in my blood. I now decide to get married too. I get married and soon after become a father of two adorable children. My age at that period would have been early twenty or so. Time flew by fast earning bread and butter for my family. Nothing was more important than bringing up the kids properly and with a lot of love, something which I was deprived of badly during my childhood days. But now again the same restlessness and void was setting in. I was in a dilemma, now trying out new ways to end this emptiness . I initially tried my hands at learning sculpture at Triveni Kala Sangam Mandi House, but I soon realized that medium was not meant for me. Destiny seemed to have other plans for me and it was during this period that I was gifted a SLR by someone, a Ricoh 500 as I now try to remember. The camera body had a dial with some numbers and also some numbers on the lens of which I had no clue. There were photography classes also being held in Triveni Kala Sangam and I joined these classes with sculpture classes I was already doing. It was here I met my photography teacher and now a lifelong friend Satyasri Ukil for the first time. The Basic course was about learning the techniques of Black & White photography. Satyasri was a dedicated, honest & straightforward teacher. His likes and dislikes purely dealt with the merits of the image and not with the person who had shot the image. I was learning fast with my association with Satyasri at Triveni where he was teaching then . A few of us guys(now renowned photographers), formed a sort of a team under the guidance of Ukil (as we address Satyasri,till date).We were shooting developing and printing the whole day long. Photography was now no longer a hobby but a frenzy. I soon set up my own darkroom in my house and would develop and print negatives all night long. I now start trekking again now with a new SLR in hand going to high altitudes and to very difficult locales. I remember showing my first serious work to Ukil and found him overjoyed. Soon my ambitions grew and I start shooting product for the advertising agencies. My first breakthrough as I clearly remember had come from the agency 0& M whose creative head then was Benoy Mitra, who was one day present at the colour lab called "MultiColour in Jhandewalan, when my portfolio prints were coming out of the lab. He saw my work and quietly handed over his card asking me to see him in the agency. I was overjoyed. This was breakthrough I needed desperately. I soon started getting assignments from most major agencies. But now I started getting bored again shooting mountains product and off and on some fashion. I still needed to express myself in a different way. I decide to work towards my first solo exhibition and I show my landscapes and mountain work to the management of INDIA INTERNATIONAL CENTRE. After seeing my work they agree to sponsor my show fixing the date to 28th November 1998.It is pertinent to mention here that I had then "only" shown them my beautiful landscapes and mountain TP's as I had nothing more at that time in my kitty. I started a new journey, first shooting Ladakh. I found immense peace and tranquility (acting as a balm for my troubled mind )in the monasteries I visited. The filtrations of light from the windows and doors into the dark interiors of the monasteries were indeed very beautiful, tranquil and peaceful. I would sit inside these monasteries for hours at a stretch calming my taut nerves. The prayer gong would echo inside the main hall and seep deep inside my soul. I have always equated light with God and have believed that the darkness of the human soul will ultimately come alive with the play of Light (God) on it. My next visit was to Banaras. Here I found people visiting the Ghats in very colorful attires. A activity on these ancient Ghats like the Dashashwamedh Ghat would start very early in the morning. People from all over India visit Banaras to perform various religious rituals, right from the birth of a child to the cremation of the dead and also later to perform rites for their safe and comfortable passage after death. The quality of light that I found in Banaras was very warm & golden and I wouldn't hesitate a moment to call it heavenly. Now a special reference to the Manikarnika Ghat " the ghat of the dead" is needed. People from all over India come to Kashi (ancient name of Banaras)to cremate their dead at Manikarnika.It is believed by Hindus that a cremation at Manikarnika Ghat gives the human soul an unhindered passage to heaven. Pyres are being lit here continuously without getting extinguished for the last 3000 years. But it was on this BURNING GHAT that my worst nightmare was to begin. I would visit this ghat daily looking at the activities. It was not very long before I realised that whenever a body of a poor person would come in, it would be cremated in a bizarre manner. It required two mun wood at the least (mun is an Indian measure of weight equivalent to 20 kgs) to cover a human body completely for cremation. But the person accompanying the dead body did not have that much money in his pocket. So only that much wood was purchased in which only the torso could be covered by wood. The legs and head were left hanging out and the pyre lit. The head would get burnt in a horrific manner with the head and feet falling away from the torso partially burnt. Then these torn away parts were picked up and put into the pyre or thrown into the Ganges. This whole sequence was so bizarre that I decided to get it on film and show it to the world. This I did manage to photograph secretly even after a lot of objections and hindrances from the people in charge at Manikarnika. Man really "was" meeting his God in Kashi, though in a very bizarre manner. So much for Kashi, our GATEWAY TO HEAVEN.I have posted only a few of those pictures on this website just to avoid unnecessary disturbance to people's minds. In the meantime the Purn Kumbh was being held at Hardwar. This again has become a very interesting event to relate. I was aghast to see completely naked so called Naga "sadhus" storming the streets of Hardwar. It was here I came to understand from the local inhabitants of Hardwar that this whole show was a complete farce. These so called ascetics only stormed the streets during the Khumb. Neither do they live in the remoteness of the Himalayas leading a renounced life, but on the contrary live in air conditioned lavishly furnished akharas in Hardwar itself. They were a weird sight. ( I have shown some photographs of them in my Black & White section). Here I saw them fight pitched battles with the police before the procession. DOWNRIGHT CRIMINALS TO THE VERY CORE, MOST OF THEM. On the day of the procession I got up early in the morning and positioned myself on roof top of a house near the Niranjani Akhara.This was very early in the morning and I was testing the auto focusing of my telephoto 300mm Canon lens when I saw a group of nagas in the akhara compound. I was taken aback when I saw one Naga fiddling with the genitals of the other Naga, "AND I TOOK THE SHOT".(later to appear on the first page of THE INDIAN EXPRESS). There were hutments built for sadhus by the kumbh authorities across the river bed. I would visit those and sit with some real sanyasis and listen to their discourses and hear them sing bhajans. This was a very nice and peaceful experience. The Kumbh ended and my exhibition date also was drawing near. The IIC Gallery wanted to see the final prints that I had decided to display. Nowhere in my final selection were those beautiful landscapes to be seen. Their place had been taken by naked sadhus with Trishuls and burning ghats & corpses. The Gallery management told me in no uncertain terms that they will not allow the show to go on unless these pictures were withdrawn. My dilemma was that my photo essay "Where Man Meets God'" was a story of a man's passage of life, his wanderings, his search for God. This essay was incomplete without these pictures. I told the management that I will show my work as it is and will not remove any picture from the list. Much courage to take this right stand was coming from Satyasri Ukil who stood by me all this while withstanding this massive ONSLOUGHT . IIC Management banned my exhibition. It was during this period that me and Satyasri Ukil were introduced to Suneet Chopra a reputed Art Critic. He later introduced us to Siddharth Tagore, a gallery owner at Art Consult Hauz Khas Village. Siddharth Tagore offered to hold my preview party at his gallery inviting respected artists like B.C.Sanyal, Jatin Das and many other artists of repute. The preview was a major success with all these stalwarts in their respective art fields giving their nod to my exhibition. Mr.Khushwant Singh the famous and a very respected writer too came up with an article on me in his column "Malice Towards One And All .Now IIC started shifting its stance and a compromise was reached. "That the images will be allowed to display but only facing towards the Gallery wall, whoever who wanted to see them could do so at his own discretion". Almost everybody saw those images.. Many reputed people visited the exhibition, some of them I mention in my TESTIMONIAL column. Eight major newspapers wrote elaborately on this exhibition. There was a TV interview also held by a channel also. The exhibition was a huge success on the whole. I am now planning another exhibition with a different theme and gearing up to hold another show in Milan. Life for me as a photographer continues...
Jimmy Nelson
United Kingdom
1967
Jimmy Nelson, born in 1967, embarked on a transformative journey across Tibet at age 17, captured by English National Geographic. He became a photojournalist, covering war zones and producing "Literary Portraits of China" for Shell Oil. Later, he celebrated global diversity with "Before they Pass Away" and "Homage to Humanity. " Through his lens, Nelson immortalized indigenous cultures, inspiring cultural preservation and appreciation worldwide. James Philip Nelson, born in 1967 in Sevenoaks, Kent, led a diverse childhood marked by travels across Africa, Asia, and South America alongside his father, a geologist for International Shell. At 16, he developed Alopecia totalis, triggered by stress and malaria medication. A year later, he embarked on a two-year trek across Tibet, capturing the journey with a small camera. Upon his return, his images were published by English National Geographic. Subsequently, Nelson ventured into photojournalism, documenting war zones and later commissioned by Shell Oil for Literary Portraits of China. Transitioning to commercial advertising in 1997, he continued to document remote cultures. In 2010, Nelson embarked on his second book, Before they Pass Away, a three-year endeavor photographing over 35 indigenous tribes worldwide. Using a 50-year-old 4x5in camera, Nelson drew inspiration from Edward S. Curtis, aiming to romantically portray his subjects. He emphasized that the project was not about factual accuracy but rather his artistic interpretation of diversity and beauty. Tribes photographed included the Huli and Kalam tribes of New Guinea, the Tsaatan of Mongolia, and the Mursi people of Ethiopia's Omo River valley. Financing came from Dutch billionaire Marcel Boekhoorn, resulting in a published book with photographs, texts, and limited editions. In September 2018, Nelson released his third book, Homage to Humanity, featuring over 400 photographs showcasing 30 indigenous cultures. The book includes interviews with tribal members, infographics about the depicted locations and cultures, and an application incorporating 360° film material linked to the images, along with behind-the-scenes videos and travel background information. Nelson collaborated with assistant Stephanie van der Wiel, whom he met at Leiden's National Museum of Ethnology. "Homage to Humanity" aims to be more inclusive than Nelson's previous work, addressing criticisms of his earlier book, "Before they Pass Away." Papuan chief Mundiya Kepanga emphasizes in the foreword the importance of preserving cultural values and identity for future generations.
Don Hong-Oai
China
1929 | † 2004
Don Hong-Oai was born in Canton, China in 1929 as the youngest son to a business family, and was raised and educated in Saigon, Vietnam. At age thirteen, he began an apprenticeship at a Chinese photo and portrait shop. In 1979, he immigrated to the United States and settled in San Francisco's Chinatown. Don began making a living by selling his landscape photographs in front of Macy’s and began to receive recognition for his craftsmanship. His style was heavily influenced by the legendary photographer Long Chin-San’s technique of layering negatives. By taking three negatives, foreground, middle ground, and background, and selecting a subject from each negative, thus forming one composite image of a serene landscape. All the various scenes in an image existed in reality, but each uniquely handcrafted photograph is a concoction of the artist's imagination. Each photograph was assembled only by the artist himself, never having an assistant or master printer aid him. His work has won scores of international awards and has been collected worldwide. Source: www.peterfetterman.com Don Hong-Oai (1929-2004) was born in Canton, China, and spent most of his life in Vietnam. At the age of 13, he began an apprenticeship at a photo and portrait shop. When he was not at the studio, he traveled and took photographs of the landscape. He stayed in Vietnam through the war, but fled by boat to California in 1979. He lived in San Francisco’s Chinatown where he had a small darkroom to create his photographs. While living in the US, he returned to China every few years to make new negatives. Hong-Oai’s style was heavily influenced by the legendary photographer Long Chin-San’s technique of layering negatives. By taking three negatives, foreground, middle ground, and far ground, and selecting a subject from each negative, Don would construct a serene landscape. Each of his uniquely handcrafted photographs in its entirety is a concoction of the artist's imagination. He assembled and printed the photographs by himself, never having an assistant or master printer aid him. Don’s work has won scores of international awards and has been collected worldwide. Source: www.gallery71.com
Eli Reed
United States
1946
Eli Reed, born Ellis Reed, is a photojournalist and photographer from the United States. Reed was Magnum Photos agency's first full-time black photographer and the author of several publications, including Black In America. Several pictures from that project have won awards in juried exhibits and exhibitions. Eli Reed was a Nieman Fellow at Harvard University from 1982 to 1983 and is now a clinical professor of photojournalism at The University of Texas at Austin. In 1982, he was a runner-up for the Pulitzer Prize in Feature Photography. Reed has received the World Press Award and the Overseas Press Club Award, as well as being a Sony Global Imaging Ambassador. He received a Lucie Foundation Award for Documentary Photography in 2011. Reed's photography was featured at the prestigious Visa pour l'image Festival Du Photoreportage in Perpignan, France, in 2015. Reed was asked to talk at the Schomburg Center for Research in Black Culture in October 2015 as part of their Visually Speaking series. He was a keynote speaker at National Geographic Magazine′s Photography Seminar in Washington, D.C. in January 2016. Stop talking theory... and do not over-think the image. Lose the ego and let the photograph find you. Observe the life moving like a river around you and realise that the images you make may become part of the collective history of the time that you are living in. -- Eli Reed Eli Reed grew up in Perth Amboy, New Jersey. At the age of ten, he took his first snapshot, of his mother near the Christmas tree. Self-taught in photography, he credits his direction to mentor Donald Greenhaus rather than formal education. He graduated in 1969 from the Newark School of Fine and Industrial Arts, where he studied illustration. Reed began working as a freelance photographer in 1970. His work from the Lebanon war (which he covered between 1983 and 1987), the 1986 Haiti coup against Baby Doc Duvalier, and the 1989 US military intervention in Panama attracted the attention of Magnum in 1982. Reed joined the agency as a full member in 1988. In the same year Reed photographed the effects of poverty on America's children for a film documentary called Poorest in the Land of Plenty, narrated by Maya Angelou. He went on to work as a stills and specials photographer for major motion pictures. His video documentary Getting Out was shown at the New York Film Festival in 1993 and honored by the 1996 Black Film-makers Hall of Fame International Film and Video Competition in the documentary category. Reed's special reports include a long-term study on Beirut (1983-87), which became his first, highly acclaimed book Beirut, City of Regrets, the ousting of Baby Doc Duvalier in Haiti (1986), US military action in Panama (1989), the Walled City in Hong Kong and, perhaps most notably, his documentation of African-American experience over more than twenty years. Spanning the 1970s through the end of the 1990s, his book Black in America includes images from the Crown Heights riots and the Million Man March. The main thing for me is that I'm happy that I've been able to work as a professional photographer. What is at the core of my work is, in essence, a mediation on being a human being. -- Eli Reed Reed began photographing movies and performers in 1992 and is a member of the Society of Motion Picture Still Photographers (SMPSP). Reed mostly shoots with the Olympus E-3, E-30, and EP-1 cameras. Eli Reed has taught at the Maine Photographic Workshop, the Wilson Hicks Symposium at Miami University in Florida, the Southeastern Museum of Photography in Daytona Beach, Florida, the Smithsonian Institution in Washington, D. C., San Francisco State University, Harvard University, the Boston Institute of Art, the Academy of Fine Art in San Francisco, the University of Texas at Austin, Columbia University, Empire State College in New York, New York University, and the International Center of Photography.
Julie Blackmon
United States
1966
Born in Springfield, Missouri, Julie Blackmon studied art education and photography at Missouri State University. She has received several national awards for her photographs, including commendation in the 2004 Santa Fe Center of Photography Project Competition, a merit award from the Society of Contemporary Photography, 2005 B& W Magazine Merit Award for Single Image Contest, 2006 1st Place for Domestic Vacations from the Santa Fe Center of Photograph Project Competition, 2006 Critical Mass Book Award Winner for Domestic Vacations, and recognized as American Photo’s Emerging Photographer of 2008. Her photographs are included in the permanent collections of the Kemper Museum of Contemporary Art, Kansas City, Museum of Fine Arts, Houston, Toledo Museum of Art, Portland Art Museum, Museum of Contemporary Photography, Chicago, among numerous others. About Domestic Vacations:The Dutch proverb “a Jan Steen household” originated in the 17th century and is used today to refer to a home in disarray, full of rowdy children and boisterous family gatherings. The paintings of Steen, along with those of other Dutch and Flemish genre painters, helped inspire this body of work. I am the oldest of nine children and now the mother of three. As Steen’s personal narratives of family life depicted nearly 400 yrs. ago, the conflation of art and life is an area I have explored in photographing the everyday life of my family and the lives of my sisters and their families at home. These images are both fictional and auto-biographical, and reflect not only our lives today and as children growing up in a large family, but also move beyond the documentary to explore the fantastic elements of our everyday lives, both imagined and real. The stress, the chaos, and the need to simultaneously escape and connect are issue that I investigate in this body of work. We live in a culture where we are both “child centered” and “self-obsessed.” The struggle between living in the moment versus escaping to another reality is intense since these two opposites strive to dominate. Caught in the swirl of soccer practices, play dates, work, and trying to find our way in our “make-over” culture, we must still create the space to find ourselves. The expectations of family life have never been more at odds with each other. These issues, as well as the relationship between the domestic landscape of the past and present, are issues I have explored in these photographs. I believe there are moments that can be found throughout any given day that bring sanctuary. It is in finding these moments amidst the stress of the everyday that my life as a mother parallels my work as an artist, and where the dynamics of family life throughout time seem remarkably unchanged. As an artist and as a mother, I believe life’s most poignant moments come from the ability to fuse fantasy and reality: to see the mythic amidst the chaos.
Toby Old
United States
1945
Toby Old was born in Stillwater, Minnesota in 1945. He started out majoring in biology at Hamline University, then moved on to the University of Minnesota where he trained to be a dentist. At the height of the Vietnam War he was drafted into the Army Dental Core. While serving in North Carolina, he began to explore art history and photography. After a 1976 summer workshop at Apieron Photographic Workshops in Millerton, New York, Old moved to New York City. He began working on his first extended series of the disco scene in 1976-1981. For this body of work, Standard Deviation, he was awarded a grant from the New York State Council of the Arts. In 1981 he received an NEA Survey Grant to document lower Manhattan below Chambers Street, and has continued photographing this section of the city since, includes an extended series on the boxing world. In the late 1980s he moved to upstate New York, where he began to document local events including county fairs and Civil War reenactments. He also began photographing national events such as the Kentucky Derby, Frontier Days, Mardi Gras, and spring break. Toby Old’s book, Times Squared, was offered through the 2005 Subscription Program and is still available for purchase in the Light Work Shop. Old participated in Light Work’s Artist-in-Residence Program in 1980. Toby Old captures animation in his photography, depicting both realistic and exciting observations of human life. Drawing on the inspiration of photographers of the 1960s, he has traveled the country photographing in many different environments, including street performances, beaches, fairs, fashion shows, nightclubs, boxing events, parks, and Fourth of July celebrations. His images capture extraordinary moments in human action and social and cultural experiences as they unfold. His photographs are not the kind to be taken in quickly, but images to be examined and scrutinized for details. According to Ted Hartwell, curator of photography at the Minneapolis Institute of Arts, “Old’s work has always been characterized by a solid technical mastery of the medium-format camera as the tool for his wonderfully zany, insightful, and intelligent observations of the American scene.”Source: Light Work
Richard Nickel
Poland/United States
1928 | † 1972
Richard Nickel was an American architectural photographer and preservationist best known for documenting and preserving historic architecture, particularly the works of renowned architect Louis Sullivan. Nickel, who was born on May 31, 1928, in Chicago, Illinois, developed an early interest in photography and architecture. Nickel began documenting Chicago's architectural legacy in the 1950s and 1960s, focusing on buildings designed by Louis Sullivan, one of the forefathers of modern American architecture. His photographs captured Sullivan's buildings' intricate details, ornamental features, and craftsmanship, highlighting their beauty and significance. During the mid-twentieth century, Nickel became increasingly concerned about the destruction and neglect of historic buildings in Chicago. He understood the significance of architectural preservation and saw photography as a means of raising awareness about the need to protect these structures. Nickel actively advocated for the preservation of historic buildings in addition to his photography. He campaigned against the demolition of Sullivan's iconic Chicago Stock Exchange Building, which, despite his efforts, was demolished in 1972. Nickel's photographs of the building, as well as his writings on the subject, raised public awareness of the loss and inspired the Chicago preservation movement. On April 13, 1972, Richard Nickel was killed while photographing the ruins of the Chicago Stock Exchange Building, which was being demolished. Despite his untimely death, his legacy was preserved and exhibited posthumously through his photographs. Nickel's work had a significant impact on architectural preservation and historic building appreciation. His photographs captured not only the physical structures of the buildings, but also their spirit and essence, revealing their historical and cultural significance. His dedication to architectural preservation continues to inspire individuals and organizations working to protect our architectural heritage. Richard Nickel's contributions as a photographer and preservationist serve as a reminder of how important it is to document and cherish our architectural treasures so that future generations can appreciate and learn from them.
Arkady Shaikhet
Russia
1898 | † 1959
Arkady Samoylovich Shaikhet was at the beginning a locksmith apprentice at a shipyard in Nikolaiev where he was born. He came to Moscow in 1918. At first he worked in a photographic studio were he retouched images of others but in 1924 his career as a photojournalist started. He worked for Rabochaïa Gazeta and the weekly Ogonek/Ogoniok. He was a pioneer in a new style of documentary photography called " artistic reportage". He became a member of the union of proletarian russian photographers (ROPF), a rival group of the other "October" founded by Aleksander Rodtchenko. Shaikhet favored a rigorous journalistic point of vue and his work was very sensitive to sociological problems. His images were at the frontier of documentary and artistic photography. In 1931 with two of his friends, M. Alpert and Sergueï Toules and also the editor in chief Mezhericher, he took 80 pictures in four days and called his series "24 hours in the life of the family Filippov, steelworker in the red proletarian factory of Moscow" These documents were published in the German magazine "Arbeiter Illustrierte Zeitung (A.I.Z.) and then in the Russian magazine "USSR in Construction". They had a huge international impact. In 1928 Shaikhet presented 30 images at the big exhibition "Ten years of Soviet photography" and won the first prize. In 1930 he helped Russian photojournalists show their work at the Camera Club in London. During the 30s he took a lot of images of the economical and social changes happening in his country. He followed the Turkestan–Siberian railway, that connects Central Asia and Siberia but also the first cars and tractors. He was a war reporter during World War II for the newspaper Frontavaïa Illioustratsia.
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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.
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.
Exclusive Interview with Peter Ydeen
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.
Exclusive Interview with Julie Wang
Chinese-born photographer Julie Wang brings a poetic, contemplative sensitivity to her visual exploration of the world. Having lived for nearly equal parts of her life in China, Europe, and the United States, she approaches her subjects with the nuanced perspective of someone shaped by many cultures. This blend of distance, curiosity, and emotional resonance infuses her work with a quiet depth, allowing her to reveal the fragile beauty and subtle tensions that often pass unnoticed.
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.
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.
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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All About Photo Awards 2026
$5,000 Cash Prizes! Juror: Steve McCurry