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Win a Solo Exhibition in June 2026 + An Exclusive Interview!
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Monika Maroziene
Monika Maroziene
Monika Maroziene

Monika Maroziene

Country: Lithuania

Born in Lithuania and raised along the Amber Coast, Monika Maroziene’s work is a fusion of science and emotion, discipline and instinct. With a master’s degree in chemistry, her artistic journey began from a quiet yearning, what she calls “a void where art should be.” That longing gradually led her to photography, where she found the perfect medium to weave her scientific understanding with deep rooted personal stories and poetic vision.

Her approach is experimental and tactile. By melting pine tree resin onto her black-and-white prints, Monika not only enhances the texture and warmth of her imagery but also introduces natural preservation qualities. This technique plays a central role in her latest series, Woman and The Sea (later called Amber Coast), a deeply personal project that pays homage to the Amber Coast of her childhood. The use of raw, unfossilised resin adds a subtle golden hue and evokes the scent and spirit of Baltic summers.

In Monika’s work, art and chemistry converge into a quiet kind of alchemy. Her images are defined by a strong visual identity, at once melancholic and ironic, delicate yet resolute. Her subjects, often women, are portrayed as multifaceted beings: powerful, enigmatic, nurturing, dramatic, and elusive. She draws inspiration from the unique landscape of the Curonian Spit, with its ever changing dunes and untamed sea, and from the women who shaped her, especially her grandmother.

“My photography is a form of freedom,” she says. “Solitude shaped me. The silence, the seagulls, the endless rhythm of waves, these moments now live in my images. I work in black and white because colour feels out of place in the world I capture. The touch of pine resin brings back the warmth of sunlit days and the memory of home.”

Her evocative work has received international recognition: Fine Art Photographer of the Year – 1st Place, Monochrome Photography Awards 2024, 1st Place and Gold Winner, Fine Art/Portrait – Tokyo International Foto Awards 2024 (TIFA), Silver Winner – Prix de la Photographie Paris (PX3) 2024, Silver, Fine Art/Nudes – Budapest International Foto Awards (BIFA) 2024, Bronze and Honorable Mention – Exposure One Awards 2025, Bronze, Fine Art – One Eyeland Awards 2024, Honorable Mention – International Photography Awards (IPA) 2024

Her photographs have been exhibited at Trieste Photo Days and featured in renowned publications, including the URBAN Photo Awards catalogue and the Monochrome Photography Awards Annual Book 2024. She also held a solo exhibition at Petra Gut Contemporary Art Gallery in Switzerland and took part in a group show featured by Profifoto magazine during the opening of the 56th Rencontres d’Arles in 2025.

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More Great Photographers To Discover

Katerina Belkina
Katerina Belkina
Russia
1974
Katerina Belkina was born in Samara, a city in the South-East of the European part of Russia. She grew up in an artistic atmosphere; her mother is a visual artist and, in herplace of birth, she got an education in the art of painting at the Art Academy. She continued her education in 2000 at an Academy for Photography also in Samara and exhibitions of her mysterious self-portraits ensued in Moscow and Paris. Katerina Belkina was nominated for the prestigious Kandinsky Prize (comparable to the British Turner prize) in Moscow in 2007. At the moment, Katerina Belkina is living and working in Moscow and Berlin.AAP: Where did you study photography?I started in a studio of photography and then I decided to study photography in an Art College. After several years I learned photography at the Photo Academy in Samara, Russia.AAP:How did you become a photographer?I think of myself as an artist in the broad sense of the word. For me photography is just a medium like a painting, drawing etc. However I like to use photography as a basis for my works. This form of art was always interesting for me. As well as drawing. I was influenced by my family in my childhood to like both mediums.AAP: Do you remember your first shot? What was it?When I was in fifth grade I took my school photo-group. Otherwise everything around me: school friends, street dogs, home yard.AAP:What was your first paid assignment/job?It was for an inexpensive portrait. The client was a girl who looked very similar to Marilyn Monroe. I found out that only when I looked at her in the viewfinder.AAP: What or who inspires you?Other people working in my field. When I see good results and when I see how they work. AAP: Do you spend a lot of time editing your images? For what purpose?Yes, a lot. At first I like the process of editing. In my case it is a combination of photo elements and then layer by layer drawing or correcting and making post-productions. I like when any art work include skills and labor. Every good idea should be perfectly executed.AAP: How do you choose your subjects?I always choose a topic that could be interesting for me at that moment. Then comes the process of thinking about. In the beginning ideas are always abstract. After a while it takes a shape: I choose a subject, composition, color combinations and details. AAP: Can you explain the process that you use to set up a portrait?When the idea takes shape in my mind, I draw a sketch, prepare all the necessary things for shooting and then start. Despite the fact that I know very exactly what I want for my future composition, I like to allow improvisation in the process. Because the result can be interesting and unexpectable. To take self-portraits I use a stative and make it by myself or I ask an assistant.AAP: Your worst souvenir as a photographer?Oh yes I remember! A meeting with a client who paid me and thought the world should rotate around him just because of that.AAP: What advice would you give a young photographer?Shoot a lot, take everything that could be interesting for you. Try new things, make discoveries. This is the most important thing. Don’t listen to anybody when they want to teach you something especially when it is in a critical way. AAP: What mistake should a young photographer avoid?Don’t try to be or to do like someone else. Your photography style will become unique over time. You need to be interested by what you are doing even if other photographers or artists can inspire you.
Marie Kent
Marie Kent
France
1987
Marie Kent is an educator and lifelong photographer currently based in Hanoi, Vietnam. With a primary focus on street, travel, and environmental portraiture, her work seeks to bridge the gap between fleeting travel encounters and deliberate, narrative-driven art. After years of shooting documentary weddings and commercial lifestyle projects, she has shifted her focus entirely to travel and street photography, shooting purely for the love of the craft. Drawing heavily on her professional background as an educator teaching Theory of Knowledge, Marie’s photographic methodology is rooted in examining how we perceive, construct, and share human stories. All About Photo Competition: All About Photo Awards 2026
Magdalena Berny
Magdalena Berny
Poland
1976
Magdalena Berny is a graduate from the Pozna? University of Physical Education, self-taught photographer, passionate, mother of two. Over the years, she managed to create her own quite distinctive style. Works by Magdalena were published in Polish and foreign press dedicated to photographs, illustrations used as guides to photographing children and for projects of book covers.About her:" Children as the subject of my photos appeared with their coming into the world. They were and are the cause, they determine the choice of subject of my photos. Photography for me is not only to catch the moments lived with children is also a record of my own emotions, sometimes stronger, sometimes weaker. How I " steal " look and emotions of children is due in large part to my own feelings. In addition to the joy and smile on my photographs often guests reflection, thoughtfulness and even sadness. In photography,I avoid references to the modern world while I often try to embed them in a climate of fairy tales. The inspiration for me as a photographer is all that surrounds me - broadly defined art, but also the place where I live every day as well as those that I manage to visit , and would later become sceneries of my photos".
Atom
Atom
Japan
1980
ATOM is a Japanese photographer, born in 1980, based in Tokyo. ATOM spent years travelling around the world to take pictures; he visited 64 countries in total and encountered many cultures and many people. The experience gained from the trip raised many questions for himself. What does it mean to life, coexistence with nature, happiness and purpose of living for? And the fundamental question is, "Why am I born in Japan in this age?" By leaving Japan, he reconsidered his homeland and pondered about living as a Japanese and a modern people. Conscious of his identity as a Japanese, he uses the motifs of symbols that symbolize Japan, takes a photo of the present age, and prints it on the most precious handmade Japanese paper in Japan. Using these media, ATOM decided to deliver the message to the world. In today's diverse world, ATOM hope that you will face yourself and think about the future through the work of ATOM. ATOM has been active as a photographer in the world. His works have been published internationally in publication such as Washington Post(USA), My Modern Met(USA), Weather Channel(USA), 20minutos(Spain), incredibilia(Italy), Hong Kong and others. He also won many international awards. ATOM will continue to experience many things, and explore and express the meaning of living in the present age as a Japanese. HINOMARU, KIMONO and TORII HINOMARU is an alias name of the Japanese flag. KIMONO is a Japanese traditional costume. TORII is a gate commonly found at the shrine. In the photos, ATOM use the Japanese flag, traditional costume and shrine to symbolize money (economic power), declining birthrate and dilution of community. For some, they may seem to represent Japanese religion (Buddhism, Christianity, and Shinto). For others, they may associate the "red circle" with harmony, coins (money), countries or peace; the "red kimono" with their lover, health or cross (religion); the "red torii" with home or relationship with their family. This minimalistic photo is two colors red and white. The colors of red and white represent Japan's national color. And in this photo, he shoot it so that it looks like a Japanese painting without a shadow. This minimalistic photography series raises questions to the modern society, makes the viewer face and think about the present age as well as imagine the future. Today, we live in a rational, material world; we have too much information, and too much stuff. We can get almost anything with a single click. In exchange, however, there are things we have lost: health, appreciation for things we are given, time to spend with our families, time to think and question ourselves, the definition of happiness... Get promoted. Be rich. Become famous. Are you not bound by these stereotypes? How long will you keep pretending to be something you are not, just to gratify your vanity? What is happiness to you? What does abundance mean to you? What is it that you really need? From the age of materialism to the age of mind. Look at these minimal photos. How do they look to you?
Hugo Thomassen
Hugo Thomassen
Netherlands
1972
Shadow of Truth In his search for shadow, Hugo Thomassen found light. It is not the play of light that intrigues, but the richness of shadow. The bottles are what they are, yet they inadvertently evoke associations. Are we looking at a nocturnal cityscape with figures? Are we witnessing a chance encounter, a moment frozen in time, or simply an elegant composition with one or more bottles as the photographic subject? The bottle as a shape. In actual fact, the bottle has been constructed down in minute detail. Although the associations may suggest coincidence, the composition itself makes no such assumption. After all, it was built layer by layer. Painstakingly so. It is rich in its simplicity. No expense is spared. Each line is deliberate, considered. So much is expressed through so little. Without warning, this piece sends you soaring into the void - at least it had that effect on me. The void in which there is no time, and the severity of silence reigns. From a compositional standpoint, you have no reference point for space and time. As such, you go on your instincts and create a story yourself. Or you experience it in a meditative sense. What am I feeling? Is it abandonment, bottomless loneliness? Or am I experiencing silence, light, and intimacy? The image is poetic, still, melancholy, and harmonious. Reassurance emanates from the strict imposition of order. Coincidence is out of the question. The meaning of the work is hidden in the order that it projects. The interplay of lines formed by light and shadows never becomes a labyrinth, instead forming a guide pointing out the right direction. The photo has a reassuring effect on me which does not indicate a lack of thought. It makes me wander off in my mind’s eye while deciding my own perspective. This piece puts me outside of time. I can find no links to a memory, something which photography usually excels at. The image is new, though I believe I see a shade of art history through which the influence of Giorgio de Chirico, Morandi, and Night Shadows by Edward Hopper subtly shine through. The photograph distils the bottle to its purest form. It lays bare its essence. An idea. Is it truth that we see? Reality being exposed? Or are these simply shadows created by shapes? It is this that Thomassen plays with. Is it a single photograph or a picture composed of several images, a multitude of shots? In a sense, the photographic image is attempting to transcend the flatness of the paper. Photography is the means by which Thomassen explores the world. He exposes order in chaos or reveals an event through an ordering. He is the author of a visual story. His work is a narrative without words. It is excitement without something taking place. It represents an ode to emptiness, silence, and form. The bottle as the bearer of meaning. Everything has been translated into a language that one does not necessarily need to understand, but that one feels. He finds beauty in the composition of things, of objects. Naturally, a bottle is just a bottle, but in a composition and in relation to other bottles, by sheer coincidence a story is created. Thomassen brings light and shadow as nuances to that composition. He does not impose hierarchy onto the image. The background, the negative space, is just as important as the bottle. This piece is so streamlined that there are no secondary subjects. Light and shadow are of equal importance, because they need one another. Hugo Thomassen provides a context to the bottles. It is up to the viewer to make a story out of them - or not, of course. Because what is simply a charming image to one may appear to another as a story about existence and appearances. Ludo Diels
Stefano Galli
Stefano Galli
Italy
1981
Stefano Galli is an Italian photographer born in 1981. After graduating at the University of Turin, with a BA in cinema, he moved to Copenhagen, Denmark, where he worked with director Lars Von Trier. During these years he attended Fatamorgana, The Danish School of Art & Documentary Photography. Fascinated with traveling and the discovery of new environments, Galli is currently working on a new series that belong to a trilogy started with 'Cars' and followed by '80 Skies'. He recently terminated a non-narrative documentary-film, based on the stories of random people met along a journey through the USA. Galli exclusively works on a traditional analog way, both in his motion and still project. Currently based in Los Angeles. About '80 skies'Gazes at the sky. The beauty and power of pure light entering the camera. A project that recalls Claude Monet’s study of the influence of light on objects. Stefano Galli brings his own light studies to the extreme, focusing on the sky and its myriad variations. In “80 SKIES”, the protagonists of Galli’s frames are airplanes or - better said - the small shapes that fly over our heads daily. Because of their height in the sky and the sunlight by which they are surrounded, the shapes Galli captures become something entirely different than just giant devices that move hundreds of human beings. In many cases, the planes are insignificant elements when compared to the magnificence of the heavens. In fact, the eye of the viewer becomes lost in the contemplation of the colors, in the totality of the photographs; looking at these images, the impression of hearing the deafening noise or the usual imagery of the airplane is not perceived. Fascinated by movement and travel, Stefano Galli dedicates this project to the aircraft for the purpose of studying the sky. The result is a creative pictorial but also a tiring study that begins in the early hours of dawn and ends with the fall of the sun. Pushing 35mm negatives to the extreme through a 90mm lens, he lets the film be flooded by the infinite heavenly hue, the changing colors of the horizon sometimes grayish, or yellow and pink, the broad spectrum of colors that characterize the sky. The intensity of the light seems to struggle with the film speed, so the photographs are characterized by a thick grain that gives the picture a three-dimensional effect, as if it had been given a brushstroke.A photographic project that shows the endless variations of the light system in which we live. About 'Cars': Stefano Galli’s work documents his journey of crossing deserts, through forgotten villages, on remote and empty roads. In ‘Cars’ , geography is just as important as photography even if in his shots - distinctive sharp cuts - he leads away from the dusty streets and daily life. Galli conducts the imagination to an elsewhere where lines play with material and shape, where the tail lights and fenders are transformed into surreal and alien beings. Yet ‘Cars’ goes far beyond a mere figurative research, the work is conducted with rigor and awareness, typical of a geographer or an archivist. In fact, Stefano meticulously notates the physical location of the intersection shown in each photograph. Therefore, the project goes beyond the cult of the American car. Through this adventure, Galli tracks and defines - snap after snap - a cognitive path of the new continent. So there is an aspect that links these works to a deep investigation of American society and to aspects of decay and yet, mixed with a splendor that still dazzles. The essence of his idea lies not only in the aesthetics of the work, but also in his decision to show the layers of dust on the cars, the broken headlights and swollen wheels. In this series, a fascination with America remains. A fascination with all its vastness and complexity, which attracts and disturbs at the same time. Discover Stefano Galli's Interview
Carol Beckwith
Carol Beckwith
United States
Thirty years of work on the African continent have carried Carol Beckwith and Angela Fisher across 270,000 miles and through remote corners of 40 countries in exploration of more than 150 African cultures. In the process, this team of world-renowned photographers has produced fourteen widely acclaimed books and made four films about traditional Africa. They have been granted unprecedented access to African tribal rites and rituals and continue to be honored worldwide for their powerful photographs documenting the traditional ceremonies of cultures thousands of years old. As an intrepid team of explorers, they are committed to preserving sacred tribal ceremonies and African cultural traditions all too vulnerable to the trends of modernity. The Beckwith-Fisher images are the result of a long, enduring and deeply respectful relationship with African tribal peoples. This, combined with their photographic skills, creates an intimate portrayal of ceremonies long held secret that might have never been recorded. Their work preserves and presents the power, complexity and celebration found within the rituals of African tribal life. Their extraordinary photographs are recorded in fourteen best-selling books and in their films. Their new book “Painted Bodies” (2012) follows “Maasai” (1980), “Nomads of Niger” (1983), “Africa Adorned” (1984), “African Ark” (1990), “African Ceremonies” (1999), “Passages” (2000), “Faces of Africa” (2004), “Lamu: Kenya’s Enchanted Island” (2009), and “Dinka” (2010). The special limited-edition books, hand printed in Santiago, Chile, are titled “Surma,” “Karo,” “Maasai,” and “Dinka.” “African Ceremonies,” their defining body of work, is a double volume, pan-African study of rituals and rites of passage from birth to death, covering 93 ceremonies from 26 countries. This book won the United Nations Award for Excellence for “vision and understanding of the role of cultural traditions in the pursuit of world peace.” Honored twice with the Annisfield-Wolf Book Award in race relations for “outstanding contributions to the understanding of cultural diversity and prejudice,” Angela and Carol are also winners of the Royal Geographical Society of London’s Cherry Kearton Medal for their contribution to the photographic recording of African ethnography and ritual. The photographers have made four films about traditional Africa, including Way of the Wodaabe (1986), The Painter and the Fighter, and two programs for the Millennium Series Tribal Wisdom and the Modern World. Numerous exhibitions of their photography and films have been shown in museums and galleries around the world. In 2000 their Passages exhibition opened at the Brooklyn Museum of Art featuring 97 mural photographs, six video films and a selection of African masks, sculpture and jewelry. This exhibition has traveled to seven museums on three continents. Aware that traditional cultures in Africa are fast disappearing, Carol and Angela are working with an urgency to complete the third volume of their ongoing study of African Ceremonies with the goal of covering the remaining traditional ceremonies in the 13 African cultures in which they have not yet worked.Source: carolbeckwith-angelafisher.com
Nicky Hamilton
Nicky Hamilton
United Kingdom
1982
Nicky Hamilton (British, born 1982), is a photographer and former Head of Art at leading advertising agency M&C Saatchi. His method is highly filmic, designing and building elaborate sets to create pictures of extraordinary detail and narrative. His work explores characters' emotional states by playing with performance and symbolism in order to produce deeply evocative moods. The Lonely Man The Lonely Man is a deeply personal project. The thirteen piece tableau explores my childhood relationship with my father, a relationship that was conducted through “a maze of police raids, guns, drugs, violence and, ultimately, redemption” after he was declared bankrupt in the 1980s. In the early years my Dad started out as a builder. Things where simple, holidays where plenty and so was the laughter. In the mid 80s my Dad lost his business in a freak incident and had to declare himself bankrupt, post a recent purchase of a dream home he could no longer afford. Maggie Thatcher's reign had taken hold, the economy was weak and so was my Dad's judgement. He turned to crime and crime turned him into a drug addict who would one day call his son and ask me to prevent him from committing suicide
Lorenzo Vitali
Lorenzo Vitali
Italy
1953
Born in Milan, the city where he lives and works. My works have been published in many magazines in Italy and abroad and have won numerous international awards. I have presented his main projects in personal and collective exhibitions. I always tackle my photographic projects after a phase of careful preparation which involves an in-depth study of the theme and several inspections of the places that will be the subject of my shots. This requires a certain amount of time, but it is also essential to get into the right atmosphere by having everything I need at my disposal. The atmospheres of my works always correspond to my way of perceiving the place and this often leads me to intervene in an important way in the post-production phase. Painting is also very important in my cultural background and in general my approach to photography takes into account the entire visual arts. Creative and experimental, always attentive to new artistic proposals in his environment, I develope the aesthetic sense of my works by combining classic elements and innovation. I pay particular attention to shapes and materiality.
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