All about photo.com: photo contests, photography exhibitions, galleries, photographers, books, schools and venues.
Submit your Best Project to Win a Solo Exhibition this March!
Submit your Best Project to Win a Solo Exhibition this March!
Mark Tuschman
Mark Tuschman

Mark Tuschman

Country: United States

Over the years I have become more motivated to use my photography to communicate in a more socially conscious way—in a way that exposes people to both the degree of human suffering that exists in today’s world and to the courage and fortitude that people manifest to overcome it. In my travels I can easily imagine that I could have been born into completely different circumstances and my worldview would have been radically different, having been influenced by a completely, radically dissimilar environment and culture. Indeed, I know I have been privileged and fortunate to have been born into an affluent culture with tremendous opportunities. I believe that it is especially important for people in our society to understand other cultures and the enormous difficulties that people in other countries face daily in order to simply survive. The human condition is wrought with great uncertainty and suffering, and yet the human spirit and the hope for a better life can grow stronger in the face of adversity. I am constantly inspired by the profound fortitude of people living in difficult conditions and the empathy and commitment of the many who give counsel and aid to those less fortunate. I believe it as my moral obligation to use whatever talents I have as a photographer to transcend our limited worldviews and to help bridge the gap between cultures of affluence and poverty. Photography is a universal language and it is my hope that my images will move viewers to respond not only with empathy, but also with action. It is my intention to photograph people with compassion and dignity in the hope of communicating our interrelatedness. In the words of Sebastiao Salgado whose work I greatly admire, “If you take a picture of a human that does not make him noble, there is no reason to take this picture. That is my way of seeing things.”
 

Selected Books

Inspiring Portfolios

Call for Entries
AAP Magazine #55 Women
Publish your work in our printed magazine and win $1,000 cash prizes
 
Stay up-to-date  with call for entries, deadlines and other news about exhibitions, galleries, publications, & special events.

More Great Photographers To Discover

Bert Hardy
United Kingdom
1913 | † 1995
Bert Hardy was a renowned British photographer known for his powerful and evocative images that captured the essence of postwar Britain. Hardy, born on May 19, 1913, in Blackheath, London, developed an early interest in photography. He began his career as a photojournalist in the 1930s, working for magazines such as Picture Post and Illustrated. During WWII, Hardy worked as an official photographer for the Royal Air Force (RAF), documenting the lives of servicemen and the effects of war. His photographs captured the raw emotions and hardships endured by soldiers, providing a poignant and honest portrayal of the war. I made a point of carrying a contact print of one of the most horrifying of my photographs around with me to show to Germans who didn’t believe that such things had really happened. -- Bert Hardy Hardy continued to work as a photojournalist after the war, covering a wide range of subjects. He rose to prominence as a contributor to Picture Post, a seminal magazine known for its social documentary photography. Hardy's photographs frequently depicted working-class people's lives, providing a compassionate and empathetic perspective on their struggles and aspirations. Hardy's photography was distinguished by his ability to capture fleeting moments of daily life with authenticity and sensitivity. His photographs frequently depicted ordinary people going about their daily lives, but with a profound depth and storytelling quality. Hardy's photographs struck a chord with viewers, providing a rare glimpse into the social, cultural, and political landscape of postwar Britain. Throughout his career, Hardy received numerous accolades and awards for his outstanding contributions to photography. His work has been exhibited internationally and is part of several esteemed collections. Hardy's photographs continue to inspire and influence photographers and artists today, leaving behind a lasting legacy in the world of documentary photography. Bert Hardy passed away on July 3, 1995, but his images remain a testament to his extraordinary talent and his enduring impact on the field of photography.
Davide Monteleone
Davide Monteleone is a photographer, researcher, and a National Geographic Fellow. He works on long-term project using photography video and text, exploring the relation between structures of Power and individuals. Known for his specific interest in the post-soviet countries, he published five books: Dusha, Russian Soul in 2007, La Linea Inesistente, in 2009, Red Thistle in 2012 and Spasibo in 2013, The April Theses, 2017. His projects have brought him numerous awards, including several World Press Photo prizes, and grants such as the Aftermath Grant, European Publishers Award and Carmignac Photojournalism Award. He regularly contributes for leading publications all over the world, and his projects have been presented as installations, exhibitions and screenings at festivals and galleries worldwide including the Nobel Peace Center in Oslo, Saatchi Gallery in London, MEP in Paris and Palazzo delle Esposizioni in Rome. He is engaged with educational activities, regularly lecturing at universities and teaching workshops internationally. Italian photographer born in 1974, member of VU’ Agency since 2017, based in Zürich (Switzerland) After beginning engineering studies, David Monteleone quickly turned to journalism and photography. Holding a Master research in Art and Politics from the Goldsmiths University in London, he first worked as an agency correspondent in Moscow from 2001 to 2003. Since 2003, Davide Monteleone’s documentary photographic writing has enabled him to carry out, between Italy and Russia, numerous editorial assignments and regular collaborations with prestigious international press titles (TIME Magazine, The New Yorker, National Geographic, etc.). He also develops long-term personal projects focused on social issues and conflictual relationship between Power and individuals. Particularly committed to documenting the survivals and new aspirations of the post-Soviet world, he published his first book Dusha, Russian Soul in 2007, followed by La Liena Inesistente in 2009, Red Thistle in 2012, Spasibo in 2013 , « The April Theses » in 2017 and « In The Russian East » in 2019. In 2014, he goes beyond the borders of the post-Soviet territories and initiates a work – still in progress – about geopolitical, socio-economic, and environmental impact of the New Silk Roads (“Yi Dai Yi Lu”) and thus about Chinese expansion on several continents. Exhibited in many countries, his work has received prestigious awards, among which several World Press Photo awards (2007, 2009, 2011), the Aftermath Project award (2010), the European Publishers Award for Photography (2011), the European Photo Exhibition Award (2012), the Carmignac Prize for photojournalism (2013), the Asia Society Fellowship (2016) or the National Geographic Storytelling Fellowship (2019-2020).Source: VU' l'agence
Michelle Sank
South Africa
Michelle Sank was born in South Africa and settled in the UK in 1987. She cites this background of growing up during Apartheid and being the child of immigrant parents as informing her interest in sub-cultures and the exploration of contemporary social issues and challenges. Her crafted portraits meld place and person creating sociological, visual and psychological landscapes and narratives. Known for her work on youth culture, her practice has expanded into long term projects documenting communities and cultures in depth. Sank undertook a BA Fine Art Degree at The Michaelis School of Fine Art in Cape Town where her work was picked up by David Goldblatt who became a lifelong mentor. In leaving South Africa in the late 70’s she had a big gap in her career redefining her practice after many years when she completed her MA at De Montford University, Leicester in 2001. Her photographs have been exhibited and published extensively in the UK, Europe, Australia and Mexico, South Africa and the U.S.A. and her imagery is held in private and permanent collections worldwide to include Open Eye Gallery, Liverpool, The Museum of Youth Culture, UK, Southeast Museum of Photography, Florida and The Museum of Fine Arts, Houston, Texas. She has undertaken continuous commissions and residencies for prominent galleries and magazines in Europe and the USA and her work has won awards in numerous prestigious competitions to include the Taylor Wessing Prize, British Journal of Photography, Head on Foundation, IPA awards, Lens Culture and The Juliet Margaret Cameron award for Female Photographers. She was recently a winner in The Portrait of Britain and in 2024 she won the Open Portrait section in the Sony World Photography Awards. She has just been granted an Honorary Fellowship by The Royal Photographic Society. Sank has five published books to date her latest being “Burnthouse Lane” published by Dewi Lewis, 2024 – a celebratory account of an historic working class community in Exeter, Devon, UK. Burnthouse Lane The Burnthouse Lane estate was first dreamt up by Exeter City council in the idealistic 1920s in the UK to rehouse people from the West Quarter slum. Designed along garden city lines and purposely self-contained, it was a place for working-class families to live. The deprivation it was supposed to overcome has continued to haunt it, but the isolated nature of the estate and its intricate labyrinth of lanes have also made for positives, such as a close-knit community and a sense of solidarity among the residents. Ballade Ballade is a poetic homage to my birthplace, Cape Town. My strongest memories are of the Sea Point Promenade in Cape Town and its accompanying Pavilion swimming pool where I frequented the long walkway and its bordering vast grass areas through all of my formative years. I was born there, and my recall is one of tableaus transpiring through play, encounters and festivities. The pool, the walkway, the beaches and the green areas continue to serve as stage sets within which diverse performances unfold. Article Burnt House Lane
Tim Franco
France/Poland
Tim Franco is French-Polish freelance photographer based in Shanghai. Since he first came to China in 2005, Tim Franco got fascinated by the fast social and urban transformation that chinese cities where going through. He has spent some time documenting those growth through urban photography but also by studying social changes, such at the underground art world and the social problems related to the evolutions of the cities. Among his projects is a comprehensive depiction of the growth of the alternative music scene in China and particularly Shanghai. The project was synthesized and published in a book, “Shanghai Soundbites”, released in June 2008 in response to the attitude towards cultural expression manifested in the lead up to the Beijing Olympics. Subsequently, the pictures have been included in numerous news and lifestyle publications both in China and abroad. He now continues his work documenting the urban development of chinese cities and its social impact on the local people. He is also involved in local youth and underground movement both in China and greater asia. Tim Franco is a regular contributor to Le Monde ( newspaper and magazine ), but his work has also been published in the New York Times, International Herald Tribune, Bloomberg, Financial Times, Le Point, NRC, Wiwo, Global Journal, Architecture d’Aujourd’hui, The Fader, CNN online, Time Out, Urban. About the series Vertical Communism Vertical Communism is a long term project about the city of Chongqing. This city, one of the biggest in central china, went through one of the fastest development process in the country. The main reason is, located upstream of the three gorges dam, the government has welcomed all displaced population from submerged region into its main urban areas. The city is fascinating because of its accelerated development that produced high rises buildings on the side of rivers and mountains, taking away the traditional charms of the old Chang Kai Shek capital, but also because of its political and social history. Once at the hand of the biggest organized crime group in China, the city has been re manipulated into a neo communist style red propaganda machine, led by the highly controversial son of a famous revolutionary named Bo Xilai. With his wife now in prison for the murder of a British national, and his personal implication in corruptions and tortures, Bo Xilai has been quickly removed from any government places in China and the city is looking once again for a new direction. I personally see Chongqing as a macro representation of the whole China. With its tumultuous political history and its growing social pressure for managing farmers coming into urban areas for a better life, all of it pushed by a constant need of investments and fast modernization, I wanted to portray this view of a growing china, far away from the common views of eastern cities such as shanghai or Beijing. From a photographic point of view, I have decided to shoot the people in their environment. But i have decided to take a step back, using medium format film camera, I want to transmit the feeling of scales that the city and china in general is facing. Urban Scales, Social Scales, the country's biggest problem is now to find a way to link some extremes the highly rich to the very poor, the extravagant to the meaningful. Vertical Communism is a portrait of Chinese a megapolis full of contradiction, trying to keep up with its unpredictable modernization. Interview with Tim Franco All About Photo: When did you realize you wanted to be a photographer? Tim Franco: There is not a precise moment. When I was young, I loved writing stories, then my passion became music. I always wanted to share my ideas and vision of things through some mediums at the end it became photography. Where did you study photography? When I was a kid, my artist mother pushed me from one opening to the other, through museums and galleries. At first I hated it, and then became used to it and started to hang out more and more in her studio, until I took away her old cameras , I have learn through experience, other photographers and reading tutorials. How could you describe your style? Photographers tend to be classified, put into boxes, commercial photographer, photojournalists, artists, etc. I never really know how to classify my work. What I love is telling stories, document facts with an artistic esthetic to it. I also enjoy working on creative commercial assignments. I always try to stay simple in the esthetic and subtle about the story. What kind of gear do you use? Camera, lens, digital, film? For my personal work, I really enjoy medium format. When I see something, most of the time, I ideally want to frame it in square. I don't really like naming brands, they all have different feeling and esthetic and it really depends the look you want to give your image. To name a few I personally work with Hasselblad and old rolleiflex. For commercial work, I use Canon because of their price and availability in terms of lenses.> Do you spend a lot of time editing your images? When shooting film, I usually spend very little time editing, just cleaning dust on films and other small details. When shooting commercial work on digital its another story. Clients are very specific about what they want and color out of raw files needs to go through extensive treatment. My photo agency works with a retouching studio for most of our commercial projects. What advice would you give a young photographer? Those days, its very easy to call yourself a photographer, grab a camera , a couple of nice prime lenses and you can get some good images. But I think young photographers should really focus on what are they trying to say with their images. What makes a great photo is not the instant esthetic of it but the impact that image will have on its viewer. An idea, a sentence, a project you would like to share? One of the main project I worked on for the past year is about one particular city in China called Chongqing. Since 2009, I am going there quite frequently, at the beginning for some press assignments since the city have seen lot of interesting political stories and turmoils but also because it fascinates me. Both from an esthetic point of view and from its stories. This giant megapolis has been forcly populated with countryside people and has now a very hard time to deal its urbanization. "I personally see Chongqing as a macro representation of the whole China. With its tumultuous political history and its growing social pressure for managing farmers coming into urban areas for a better life, all of it pushed by a constant need of investments and fast modernization, I wanted to portray this view of a growing china, far away from the common views of eastern cities such as shanghai or beijing. From a photographic point of view, I have decided to shoot the people in their environment. But I have decided to take a step back, using medium format film camera, I want to transmit the feeling of scales that the city and china in general is facing. Urban Scales, Social Scales, the country's biggest problem is now to find a way to link some extremes the highly rich to the very poor, the extravagant to the meaningful. Vertical Communism is a portrait of chinese a megapolis full of contradiction, trying to keep up with its unpredictable modernization." Your best and worst memory as a photographer? Being a professional photographers gives you a chance to go to many great places and meet amazing people. Sometimes the best memory is all the instants that led you to take a particular photo, the untold stories. What happened in the discussion you had with the person you were about to portray, how did you get to this fantastic point of view etc. For worst memory there is always issues of dealing with authorities, this large gap of misunderstanding between the photographer wanting to tell a story and a person not allowing you to shoot. This is always very annoying. More about METAMORPOLIS More about UNPERSON
Baron Raimund von Stillfried
Austria
1832 | † 1911
Baron Raimund von Stillfried, also known as Baron Raimund von Stillfried-Rathenitz (6 August 1839, in Komotau – 12 August 1911, in Vienna), was an Austrian photographer. He was son of Baron (Freiherr) August Wilhelm Stillfried von Rathenitz (d. 1806) and Countess Maria Anna Johanna Theresia Walburge Clam-Martinitz (1802–1874). After leaving his military career, Stillfried moved to Yokohama, Japan and opened a photographic studio called Stillfried & Co. which operated until 1875. In 1875, Stillfried formed a partnership with Hermann Andersen and the studio was renamed, Stillfried & Andersen (also known as the Japan Photographic Association). This studio operated until 1885. In 1877, Stillfried & Andersen bought the studio and stock of Felice Beato. In the late 1870s, Stillfried visited and photographed in Dalmatia, Bosnia, and Greece. In addition to his own photographic endeavours, Stillfried trained many Japanese photographers. In 1886, Stillfried sold the majority of his stock to his protégé, the Japanese photographer Kusakabe Kimbei, he then left Japan. He left Japan forever in 1881. After travelling to Vladivostock, Hong Kong and Bangkok, he eventually settled in Vienna in 1883. He also received an Imperial and Royal Warrant of Appointment as photographer.Source: Wikipedia To many in the West, Japan is an exotic country, seen through the distorting lens of tourist cliches: cherry blossoms, geisha, samurai, kamikaze. In that sense, little has changed since the Meiji Era (1868-1912), when Japan was first promoted abroad as a sort of Oriental theme park. Baron Raimund von Stillfried, a 19th-century pioneer of photography in Yokohama, was the first in Japan to recognize the new medium's potential as a global marketing tool. Adept at producing theatrical souvenir photos, Stillfried also took the first ever photograph of Emperor Meiji and shocked Vienna when he imported Japanese teenage girls to the city to work in a mock teahouse. A Career of Japan by Luke Gartlan, a lecturer in art history at the University of St. Andrews in Scotland, is the first comprehensive study of Stillfried's extraordinary life and works. Written for an academic readership using the language of critical theory, Gartlan's account of a scandal-prone impresario resonates with contemporary parallels. Baron Raimund Anton Alois Maria von Stillfried-Ratenicz was born in Austria in 1839 and spent his childhood in military outposts on the fringes of the Austro-Hungarian Empire. In 1864, aged 24, he chose life as a cabin boy in a ship headed for Peru instead of an aristocratic military career. By 1868, after a couple of years adventuring in Mexico, fighting a doomed campaign for the Habsburg Emperor, he had set up a photography studio in Yokohama. The rough and ready port town was hosting its first "globetrotters," a word coined locally to describe the new wave of round-the-world tourists, propelled by the 1869 opening of the Trans-American railway and the Suez Canal. One German globetrotter, Margaretha Weppner, recorded her impressions the same year: "The foreigner in Japan leads an expensive, luxurious life. (The climate) requires that liquors should be taken before breakfast, wine, beer, and champagne at breakfast; the same routine before, at, and after dinner, and brandy and soda all day long." In Yokohama, tourism brought a new demand for "curious" and souvenir photos. Baron Raimund von Stillfried specialized in staged studio portraits featuring models decked out as traditional Japanese "types." These striking hand-colored images were widely copied in Western newspapers and became emblematic of Japan. In the same way that the foreign press today fixates on "weird Japan" stories, Stillfried's images, Gartlan argues, were a popular fiction that exploited Western ignorance. Take, for example, Two Officers - used on the cover of A Career of Japan - that purports to show two samurai with their hair in topknots. The photograph was taken in 1875, four years after the traditional hairstyle worn by Japan's warrior class was banned. It was as a paparazzo that Stillfried first achieved notoriety. Hearing that Emperor Meiji was to visit Yokosuka on New Year's Day in 1872 - the first public appearance by a Japanese monarch - Stillfried was determined to take his picture. According to contemporary accounts, he hid on a ship docked next to the Imperial landing area and secretly photographed the divine countenance through a hole in a sail. Government officials reacted with fury when Stillfried brazenly advertised his scoop, ordering a police raid on his studio. Today, only one print survives. Stillfried was threatened with deportation, and the ensuing scandal reverberated around Asia. Shanghai's North China Daily News said that the crack down was "the most foolish thing we have heard of the Japanese." Partly in order to trump Stillfried, the government commissioned an official portrait of the Emperor the same month. Kuichi Uchida's image of "H.I.M. The Mikado" in Western dress was the state's first foray into visual PR. The Meiji regime may have disapproved of Stillfried, but they admired his talents as a propagandist, and hired him six months later to photograph the newly-colonized territory of Ezo (present-day Hokkaido). Stillfried's photos of the Ainu people were displayed at the 1873 Vienna International Exhibition. Referring to a group Ainu portrait, the Japan Gazette of Jan. 23, 1873, said: "The gift of beauty - has not been vouchsafed to the female descendants of Yesso (Ezo) - whose primitive ugliness of feature is artificially increased by moustachios [sic] tattooed along the upper lip." A separate image of two of the same figures was hand-colored by Stillfried. Gartlan notes that "the selective addition of colors emphasizes the women's tattoos, a traditional practice soon to be banned by the Japanese government." Stillfried's Hokkaido photos may have been displayed in the Japanese pavilion in Vienna but the man himself was barred from joining the official delegation to his home country, due to the lingering scandal over his photo of the Emperor. He reacted with typical bravado by erecting an imitation Japanese teahouse in the exhibition grounds, staffed by teenage Japanese girls imported from Yokohama. The press reacted with thrilled prudence. "How innocent the term (teahouse) sounds to us, but what amount of shame it entails in Japan!" the official exhibition journal reported, while the Chicago Daily Tribune referred to the "Yokohama Belles" as "by no means virgins." Gartlan argues that the teahouse was a respectable project, but the scandal was enough to close it down, leaving Stillfried almost bankrupt. One employee later alleged that the photographer beat his workers, evicted the girls at gunpoint and tried to have the teahouse burned down in order to claim insurance. Returning to Yokohama in 1874, Stillfried's career faltered amid growing competition from Japanese photographers whom he had personally trained, and who were happier to portray their country as a modern nation. His final return to Viennese high society in 1883 coincided with the peak of the European craze for Japan-inspired art - culminating in "The Mikado" and "Madame Butterfly" - that his souvenir photographs had helped to create 15 years earlier. Stillfried's heavily romanticized images had, in Gartlan's words, a "vast impact on how the West perceived Japan at the time." His legacy can still be seen today. Western fantasies of Japan continue to draw on anachronistic assumptions about the country - from ornamental women to picturesque teahouses - and equally inaccurate images of a "futuristic" nation (one where fax machines have no place). Modern-day parallels can also be seen in the book's depiction of Stillfried's expat experiences: the battles with bureaucracy, the government propaganda, the conflicted approach to foreigners - and the drinking.Source: Japan Times
Mark Tuschman
United States
Over the years I have become more motivated to use my photography to communicate in a more socially conscious way—in a way that exposes people to both the degree of human suffering that exists in today’s world and to the courage and fortitude that people manifest to overcome it. In my travels I can easily imagine that I could have been born into completely different circumstances and my worldview would have been radically different, having been influenced by a completely, radically dissimilar environment and culture. Indeed, I know I have been privileged and fortunate to have been born into an affluent culture with tremendous opportunities. I believe that it is especially important for people in our society to understand other cultures and the enormous difficulties that people in other countries face daily in order to simply survive. The human condition is wrought with great uncertainty and suffering, and yet the human spirit and the hope for a better life can grow stronger in the face of adversity. I am constantly inspired by the profound fortitude of people living in difficult conditions and the empathy and commitment of the many who give counsel and aid to those less fortunate. I believe it as my moral obligation to use whatever talents I have as a photographer to transcend our limited worldviews and to help bridge the gap between cultures of affluence and poverty. Photography is a universal language and it is my hope that my images will move viewers to respond not only with empathy, but also with action. It is my intention to photograph people with compassion and dignity in the hope of communicating our interrelatedness. In the words of Sebastiao Salgado whose work I greatly admire, “If you take a picture of a human that does not make him noble, there is no reason to take this picture. That is my way of seeing things.”
Advertisement
AAP Magazine #55 Wmen
Win a Solo Exhibition in March
AAP Magazine #55 Wmen

Latest Interviews

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.
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.
Call for Entries
AAP Magazine #55 Women
Publish your work in our printed magazine and win $1,000 cash prizes