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Quentin Shih
Quentin Shih

Quentin Shih

Country: China
Birth: 1975

Quentin Shih (a.k.a. Shi Xiaofan), born in Tianjin, China in 1975, lives and works as a camera artist, and filmmaker between New York and Beijing.

A self-taught photographer, he began to shoot photos in college for local underground musicians and artists.

After graduation, he came to Beijing to develop his career as a professional photographer/artist. From 2000 to 2002, he participated in exhibitions in China and America with his fine art photographic works and his works have been collected by American museums, such as the Danforth Museum of Art and the Worcester Art Museum.

During the last few years, he has been producing work for top commercial clients and international publications such as Adidas, Microsoft, Sony, Siemens, Vogue, Harper's Bazaar and Esquire. His advertising campaigns work have won numerous prestigious international advertising and photography awards. In 2007, Quentin was named 'Photographer of the Year' by Esquire Magazine (China). In the following years, he joined lots group exhibitions and solo exhibitions in China, Europe, Southeast Asia and United States. As one of the leading Chinese photographers, Quentin Shih is well recognized for his individual artistic style which utilizes vast sets and dramatic lighting to engage in emotional narratives.

Now, he is returning to his roots in fine art photography and challenging its techniques and concepts into his commercial and fashion photography in order to achieve a unique symbiosis. At the same time, he is also working on his film projects, A Parisian Movie (2011) was his first short movie shot in Paris, France.

Agency

FMA Le Bureau

Gallery

Galerie XII

Websites

www.quentinshih.com

@quentin_shih

 

Quentin Shih's Video

Inspiring Portfolios

Aleksander Rodchenko
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Fabien Dendiével
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Umberto Verdoliva
© Umberto Verdoliva
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More Great Photographers To Discover

Elliott Wilcox
Elliott Wilcox
United Kingdom
Elliott Wilcox is a London based, British photographer who recently graduated from the University of Westminster, MA Photographic Studies program. He has been the recipient of several awards including a Judges Award at the Nikon Discovery Awards and a New York Photo Award. Elliott recently won a prestigious Lucie Award for the Discovery of the Year at the International Photography Awards. Elliott has exhibited internationally and in the UK, his first major series 'Courts' was part of the show ‘PRUNE – Abstracting Reality’ at FOAM Gallery Amsterdam with guest curator Kathy Ryan, editor of the New York Times Magazine. Wilcox was also part of the BBC’s documentary series – School of Saatchi. His art work beat thousands of emerging art talents to the top ten artists involved in the show. Source www.elliottwilcox.co.uk
Attila Ataner
Attila Ataner
Canada/Turkey
I am of Turkish ancestry, but born in Svishtov, Bulgaria, a small town on the Danube river. During the 1980s, my parents and I lived in Triploi, Libya, where I attended an international school for the children of expats. There, I was introduced to photography by one of my all-time best, and favourite teachers. I have been an avid amateur photographer ever since. I currently live in Toronto, Canada, with my wife and two young children. I am formerly a practicing lawyer, however I recently returned to school to pursue a PhD degree in philosophy, with my focus being on environmental philosophy and legal and political theory. My current passion for photography, and the series of photos I have been working on more recently, is partly informed by my scholarly work on environmental issues. For instance, my series titled "Landscapes of Modernity" is an attempt to translate some of my philosophical ideas into a visual/photographic format. Landscapes of Modernity This series of phots is, in part, an attempt to translate some of my academic work on environmental philosophy into visual/photographic format, an effort to express my ideas through art rather than scholarship alone. My overall project aims to reflect on the contemporary experience of dwelling in extensively built-up, "artificial" spaces. Our ancestors lived in spaces pervaded by natural landscapes, by mountains, valleys, by open skies, and the like. They were surrounded by spontaneous, self-generating, self-sustaining (i.e., so-called "natural") entities. Conversely, consequent to modernity, our visual landscapes are now largely colonized by massive, cuboid, monolithic structures; and by constricted, disrupted or otherwise occluded skies. Above all, we have surrounded ourselves with a seemingly endless array of almost exclusively human-made constructs. This is the central contrast between modernity and the modes of dwelling of our ancestors. ... And here, in this modern moment, we find astounding beauty mixed with a certain apprehension, oppressiveness and brutality - for instance, as is exemplified by the staggering scale of the seemingly omnipresent and ever-expanding character of the structures that now envelop and enframe our lives. I hope my photos manage to capture this duality in the contemporary urban landscape.
Anne Launcelott
Anne Launcelott
England/Canada
Anne is a self-taught photographer who began photographing her children as they were growing up in B&W. She would put her babies to bed, set up the darkroom in the apartment bathroom and print well into the wee hours. She went digital, and thus began shooting in colour, in 2010 when darkroom supplies and film were no longer available. Her first workshop was with the noted New York street photographer Jay Maisel who has influenced her use of colour, light and gesture. Her first photography expedition was with Steve McCurry in 2012 to Myanmar. On this trip she discovered her passion for travelling back in time to countries where the culture is so different from her own. People and the themes of everyday life are Anne's inspiration and she wants to draw the viewer in by telling a story through her imagery. Her preference is to explore the streets alone, camera in hand, in order to get into a Zen frame of mind. Walking, observing, interacting, and photographing... pure joy!
Tatiana Bormatova
Tatiana Bormatova
Russia
1993
Tatiana Bornatova is a documentary photographer from Moscow, now is based in Sevastopol. She currently engaged in personal projects in Russia. Her work focuses on topics devoted to social problems and phenomena of modern Russian society. She studied documentary photography and photojournalism at the School of Modern Photography Docdocdoc (St. Peterburg, Russia). Continues to study in the direction of post-documentary photography. Her projects were published in the REGNUM News Agenсу, IZ Magazine, FLIP Magazine, F-Stop Magazine, Dodho Magazine. Tatiana became a participant in the projection festival Nuits Photographiques d’Essaouira (Essaouira, Morocco) and World Biennial Of Student Photography (Novi Sad, Serbia). Underground In ancient underground quarries, all is in full swing by day and night. Both adventurers and serious researchers - speleologists and spelestologists - come here. Speleology is the study of naturally - occurring caves, and spelestology is the study of underground cavities not used for intended purposes. In the fourteenth century, in Outer Moscow people began mining stone underground using closed methods. It lasted until the nineteenth century. Under Stalin, entrance to the underground was strictly forbidden, but this did not stop people going on adventures. In the 1960s, the masses started to venture into the underground. Then they started to blow up the entrances to caves. Access to the underground became much more difficult, but the interest for anthropogenic underground caves did not cease to exist. Starting in the 1980s, spelestologists and enthusiasts again started to look for underground caverns, previously forbidden in Soviet times. The analysis of old rubble, digging up and exploring passages, and topographic surveys all require staying underground for several days at a time. In the caves specialists would start to allocate grottos for toilets, sleeping, eating and collecting water, as well as strengthening areas that were prone to collapsing. The walls were covered with drawings, inscriptions, artefacts and graffiti. These new traditions and rules resulted in the formation of new subcultures. Visiting caves now is very entertaining. More and more often, they are being visited by thrill seekers, people who like to drink, unofficial excursion groups, and bloggers. Often people go underground without knowing basic safety precautions. That said, the risks in underground caves are not few: one could get lost or end up in a rock collapse. Spelestologists think negatively of amateurs who try to prevent filming and unofficial tours. A few of the researchers carry out excavations and study the underground caverns, but the increase in popularity is starting to disturb their work. They try to keep the whereabouts of newly discovered caves secret. The photographs in this project were taken in the Moscow Oblast, in the Syankovsk and Novlensk caves, and also in the Kamkinsk quarry, more well-known as Kiseli.
Bettina Rheims
Bettina Rheims
France
1952
Bettina Rheims, born Bettina Caroline Germaine Rheims is a French artist and photographer. She began her career with a series of images of striptease dancers and acrobats, and over the years she became one of the most notable persons behind the lens. "I adore flesh. I am a skin photographer," she says famously, and that perfectly explains her work. It is raw and erotic, frequently involving nudity and stuffed animals, and she achieves a visceral emotion that captivates the audience. Some of her most well-known pieces raise problems of gender, androgyny, and transsexuality. Although Bettina Rheims began with obscure and marginalized subjects, her later assignments included advertising campaigns for fashion and major brands like Chanel and Lancôme, as well as prominent international magazines. Madonna, Charlotte Rampling, Catherine Deneuve, Kylie Minogue, Claudia Schiffer, and many others were photographed by Rheims. And there's something indisputably human and true in every photograph she takes, perhaps too natural and personal. I have always believed that whether the work is my idea or a commission, it is personal work.... In the end, as my old master Helmut Newton used to say, there are only two kinds of pictures: the good ones and the bad ones. -- Bettina Rheims Bettina Rheims was born in Neuilly-sur-Seine, France. She is the daughter of the French Academy's Maurice Rheims. She began her career as a photographer in 1978, at the age of 26, after working as a model, a journalist, and running an art gallery. Initially, she accomplished a lot of commissioned work, such as record covers for Jean-Jacques Goldman and celebrity portraits. She devoted herself entirely to photography beginning in 1980. She created a series of images of strippers and acrobats, which were presented in two personal exhibits in Paris in 1981, at the Centre Pompidou and the Galerie Texbraun. Encouraged by her success, she began work on a series of plush animal portraits, which were shown in Paris and New York. In 1982, Rheims' Animal series allowed her to focus her lens on a different type of nudity: stuffed animals with fixed looks, "which seemed to desire to express something beyond death." "I had to capture their stare," the photographer claimed. The photographer questioned gender, androgyny, and transsexuality in Modern Lovers (1989-1990). Les Espionnes (1992) and Kim (1993) were two subsequent publications on the same subject (1994). At the same time she took portrait images for worldwide magazines and advertising campaigns (Well and Chanel), created her first fashion series, worked on cover sleeves, and film posters, and in 1986 directed her first advertising campaign. Her female portraits were published in a monograph, Female Trouble, in 1989, and exhibited in Germany and Japan. The next year, she created Modern Lovers, a series of portraits of androgynous youths that were presented in France, the United Kingdom, and the United States, as well as being published in book form. I still find myself having to justify being a woman taking pictures of naked women. It never occurred to me that there was something bizarre about it, it always felt very natural. -- Bettina Rheims Bettina Rheims began work on one of her major series, Chambre Close, in the early 1990s (1990-1992). This was her first color work, and it marked the beginning of her partnership with novelist Serge Bramly, in which her images were combined with the writer's fiction. Chambre Close is a parody of the first pornographic images in form — chambers with fading walls and old-fashioned wallpaper — but in substance, it attempts to stage amateur models in stances that play on the eroticism and misunderstanding between those looking and those displaying themselves. At the close of his presidential campaign in 1995, Jacques Chirac allowed Rheims to work behind the scenes on a series of images depicting the last moments of the election. Following the election, the French Republic's Presidency commissioned Bettina Rheims to create the official picture of Jacques Chirac. According to Libération, she intended to give the President "the easygoing look of the great heroes in westerns." The decade ended with the publishing of the book I.N.R.I. and its accompanying exhibition in 1999. I.N.R.I. constructs a philosophical debate on the history of the crucifixion through images of episodes from Christ's life, from the Annunciation to the Ascension, once again connecting the gaze of Rheims with the writing of Serge Bramly. Bettina Rheims advocated "modern illustrations, following the advent of photography, cinema, and advertising imagery, as if Jesus were to return today." The release of this work was highly contentious in France. During two long stays in Shanghai in 2002, Bettina Rheimsmade a series about the city. "The initial impressions of a visitor coming in Shanghai are of people with deep-rooted ancestral rituals and customs who have thrown themselves into the frenzied race of the modern world." Rheims, blending into this 'alternative way of thinking,' offers us a fresh perspective on the enigma that is China's coexistence with its millenary traditions, avant-garde facet, official elements, and underground qualities. Rheims exhibited Héroïnes, a piece that was essentially an homage to sculpture, at the Galerie De Noirmont in 2005. On this occasion, the photographer worked with designer Jean Colonna to outfit the women in unique outfits. "Thus, old haute couture gowns were reassembled on each of these contemporary icons. These unusually beautiful women then toyed with a stone, which became their pedestal for a brief while." Bettina Rheims collaborated with Serge Bramly again at the end of the 2000s, and Rose, c'est Paris was shown at the Bibliothèque Nationale de France in 2010. Bettina Rheims and Serge Bramly crafted a fictional thread from autobiographical parts for the photographic story. In this piece, Paris plays "the role of the muse more than the subject, and [appears] in an almost allegorical manner through the figures weaved into a story." A young woman we'll call B. is hunting for Rose, her twin sister who she thinks has vanished. Rose, c'est Paris is presented as a "great mysterious series," a genre beloved by surrealists, and is divided into thirteen episodes in which we discover, among other things, an unusual or obscure Paris that is voluntarily timeless." Exhibited in 2012 in Düsseldorf, the Gender Studies series pursues the questioning of gender representation. The device linking image and sound (by Frédéric Sanchez) presents 27 sound portraits of young men and women who responded to a request the photographer posted on Facebook. The photos are accompanied by interview clips and have featured in several exhibitions and a book. Rheims has also worked on advertising campaigns for fashion and big brands, such as Chanel and Lancôme, as well as taking portraits of famous women for international magazines. Rheims says that she has been inspired by Diane Arbus and Helmut Newton as well as by the work of early painters.
Édouard Baldus
Édouard Baldus
France
1813 | † 1889
Édouard Baldus was a French landscape, architectural and railway photographer, born on June 5, 1813 in Grünebach, Prussia. He was originally trained as a painter and had also worked as a draughtsman and lithographer before switching to photography in 1849. In 1851, he was commissioned for the Missions Héliographiques by the Historic Monuments Commission of France to photograph historic buildings, bridges and monuments, many of which were being razed to make way for the grand boulevards of Paris, being carried out under the direction of Napoleon III's prefect Baron Georges-Eugène Haussmann. The high quality of his work won him government support for a project entitled Les Villes de France Photographiées, an extended series of architectural views in Paris and the provinces designed to feed a resurgent interest in the nation's Roman and medieval past. In 1855, Baron James de Rothschild, President of Chemin de Fer du Nord, commissioned Baldus to do a series of photographs to be used as part of an album that was to be a gift to Queen Victoria and Prince Albert as a souvenir of their visit to France that year. The lavishly bound album is still among the treasures of the Royal Library at Windsor Castle. In 1856, he set out on a brief assignment to photograph the destruction caused by torrential rains and overflowing rivers in Lyon, Avignon, and Tarascon. He created a moving record of the flood without explicitly depicting the human suffering left in its wake. Baldus was well known throughout France for his efforts in photography. One of his greatest assignments was to document the construction of the Louvre museum. He used wet and dry paper negatives as large as 10x14 inches in size. From these negatives, he made contact prints. To create a larger image, he put contact prints side by side to create a panoramic effect. He was renowned for the sheer size of his pictures, which ranged up to eight feet long for one panorama from around 1855, made from several negatives. Despite the documentary nature of many of his assignments, Baldus was inventive in overcoming the limitations of the calotype process (described here). He often retouched his negatives to blank outbuildings and trees, or to put clouds in white skies; in his composite print of the medieval cloister of St. Trophime, in Arles (1851), he pieced together fragments of 10 different negatives to capture focus in-depth in a panoramic view of the interior space and also render detail in the brightly lit courtyard outside. He died in 1889 in Arcueil, France.Source: Wikipedia Baldus was one of the great calotypists of the 1850s, producing works of an unprecedented range and scale. He moved to Paris in 1838 to study painting alongside other future photographers such as Le Gray, Le Secq, and Nègre. He frequently retouched his paper negatives, adding pencil and ink, to add clouds or clarify details, then printing his own large-scale negatives. He was also adept at stitching several negatives together to re-create architectural views, most famously in his views of the cloisters of Saint Trophime. Famed especially for his depiction of architecture, Baldus not only documented the modernization of Paris but also traveled widely through France recording modernity and new construction - including new railways and aqueducts, as well as the building of the new Louvre. In 1851 the Commission des Monuments Historiques cited Baldus as one of the five best architectural photographers and he was commissioned to record the monuments of France for what became known as the Mission heliographic. His beginnings in photography are not well documented before his participation in the Mission héliographique, although it is known that he took photographs of Montmajour in 1849.Source: James Hyman Gallery "Everyone knows Mr. Baldus," a reviewer wrote in 1859. By the mid-1850s, Édouard-Denis Baldus was the most successful photographer in France and at the height of his career. He began as a painter, turning to photography in 1849 when paper negatives were just becoming popular. Throughout much of his life, he listed himself in city directories as "peintre photographe" (painter photographer), in reference more to his training than to his practice. In 1851 Baldus became one of the forty founding members of the Société Héliographique, the first photographic organization in the world. Baldus specialized in images of the landscape, architecture, and railways. In 1851 the Commission des Monuments Historiques (Historic Monuments Commission) asked Baldus to document architecture in France. These assignments, which were awarded to several photographers, were called missions héliographiques. In 1855 Baldus received his largest commission to document the construction of the Musée du Louvre. Photographic enlargements were not yet possible in the 1850s, so Baldus's photographs were contact prints from negatives as large as 10 x 14 inches. He often joined together several negatives to produce panoramas, creating images on an even grander scale.Source: The J. Paul Getty Museum
Ellen Auerbach
Ellen Auerbach
Germany
1906 | † 2004
Ellen Auerbach was a German-born American photographer remarkable both for her avant-garde photography and for her innovative and successful ringl+pit studio, where she and fellow artist Grete Stern signed all their work collaboratively. Ellen Auerbach was born Ellen Rosenburg in Karlsruhe, Germany. After sculpture courses in Karlsruhe and Stuttgart, she studied photography with Walter Peterhans at the Bauhaus school in Berlin. In 1929, she founded ringl+pit, an advertising and portrait studio, with her friend Grete Stern. The unusual title was derived from the nicknames they used as children. When Hitler rose to power, Auerbach emigrated with her future husband to Tel Aviv. There she opened a children's portrait studio named Ishon. Following the outbreak of the Abyssinian War, Auerbach moved to London, where she was reunited with Grete Stern. Together they worked on a series of portraits of Bertolt Brecht. By 1937, Ellen and Walter Auerbach had married and moved to the United States, eventually settling in New York City. Ellen began to experiment with new photographic techniques, worked for Time and Columbia Masterworks on a freelance basis, and taught photography at a junior college. In 1955 Auerbach traveled to Mexico with Eliot Porter and the two produced a powerful body of work documenting Mexican churches. The series, printed primarily in color, explores the religious traditions and ceremonial icons of a fading era in Mexican religious history. Auerbach continued to travel and photograph extensively. At the age of sixty, she began a second career as a child therapist. Ellen Auerbach's travels provided her with a kaleidoscope of people and places through which to develop her personal visual language. She believed that photography allows for the use of a metaphorical "third eye" which allows the artist to capture not only what exists on the surface of an image, but also to capture the essence of the subject that lies beneath that surface.Source: Robert Mann Gallery
Alex Strohl
Alex Strohl
France
1989
Alex Strohl is a French photographer and author, best known for his landscape and outdoor photography. Strohl is based in Whitefish, Montana. In 2018, XXLPIX ranked him in 12th position in the "TOP100 photographers on the web" list (highest new entry). He authored a book named Alternative Living, published by Blurb in 2015. His works has been featured in publications and magazines such as Forbes, BuzzFeed, Vanity Fair, and Gentleman's Journal.Source: Wikipedia For more than a decade, photographer and entrepreneur Alex Strohl has pioneered the visual style of the outdoor industry. A renown force across all of his business pursuits, Strohl’s marketing campaigns garner clients audiences in the millions while his critically-acclaimed photography workshops pass down unrivaled experience and insight to tens of thousands of aspiring amateurs. Lauded by the likes of National Geographic, Outside Magazine, and Gentlemen’s Journal, Strohl’s influence on the direction of outdoor media is unparalleled. Drawing inspiration from the wildest alpine environments, Strohl is as comfortable in the northern Rocky Mountains of his home in Whitefish, Montana, as he is diving off the shores of icy North Atlantic archipelagos. The result is an immersive visual experience that blurs the boundaries of life and work, and of humans and nature. His timeless style and eye for subtle authentic moments transcends industries from local ski brands to the world’s foremost watchmakers. Alex is based in Whitefish, Montana—but spends the vast majority of his time on the road with his life partner Andrea Dabene and their newly born daughter Mia. He is a Canon USA Creator, 66°North Ambassador, and a Vuarnet Fellow.Source: www.alexstrohl.com
Arno Rafael Minkkinen
Arno Rafael Minkkinen
Finland
1945
Arno Rafael Minkkinen is a Finnish-American photographer who works in the United States. Published and exhibited worldwide, Minkkinen's work can be found in the collections of the Museum of Fine Arts, Boston and the Finnish Museum of Photography. Seven solo monographs on his work have been published: Frostbite (1978), Waterline (1994, winner of the 25th Rencontres d'Arles Book Prize), Body Land (1999), SAGA: The Journey of Arno Rafael Minkkinen, 35 Years of Photographs (2005), Homework: The Finnish Photographs (2008), Swimming in the Air (2009), and Balanced Equation (2010). The retrospective survey SAGA premiered at the DeCordova Museum in Lincoln, MA, in 2005. The 120-print retrospective toured to Romania, Slovakia, Finland, Italy, China, and Canada. Minkkinen was made a Knight of the Order of the Lion of Finland of the first class by the Finnish government in 1992, and awarded the Finnish State Art Prize in Photography in 2006. Minkkinen was born in Helsinki, Finland in 1945 and emigrated to the United States in 1951. He graduated from Wagner College with a Bachelor of Arts in English Literature and began taking self-portraits in 1971, while working as an advertising copywriter on Madison Avenue in New York. He later studied with Harry Callahan and Aaron Siskind at Rhode Island School of Design and earned his Master of Fine Arts degree in photography in 1974. Over the past four decades, Minkkinen has been engaged as a teacher, curator, and writer while continuing to devote his photographic research and energies to the self-portrait. Minkkinen is a Professor of Art at the University of Massachusetts Lowell, and also serves as lecturer at Aalto University of Art & Design Helsinki. Earlier in his teaching career, he served as Assistant Professor at M.I.T., Visiting Artist at Philadelphia College of Art (now University of the Arts (Philadelphia)), the École d'Arts Appliqués in Vevey, Switzerland, and as graduate faculty at Maine Media College in Rockport, Maine. Since joining UMass Lowell in 1987, Minkkinen has taken students to Finland and Russia (1988), and Czechoslovakia (1989). In 1996, in a collaborative UMass Lowell/Lahti Institute of Design (Lahti, Finland) exchange program called Spirit Level, thirty Finnish, American, and Swiss students toured through Finland, Russia, and Eastern Europe for three weeks with Minkkinen and photo department head at Lahti, Timo Laaksonen. Among the students at the time was Mark Eshbaugh who later became an adjunct professor at UMass Lowell. Seven years after the first Spirit Level, together with Timo Laaksonen and Mark Eshbaugh a professor at Umass Lowell at that time, Tuscany in Italy (2003) and Oaxaca, Mexico (2007) were added to the program. [9] Later Minkinnen organized collaborations with Aalto University in Helsinki, Finland and the Foundation Studio Marangoni in Florence, Italy (2010) as well as the Bilder Nordic School of Photography in Oslo and the École Supérieure d'Arts & Medias de Caen/Cherbourg in France (2012) for an American Road Trip to the studio farmlands of American photographer Sally Mann.[10][11] The first three workshops resulted in the publication of a book commemorating those first three experiences. Minkkinen has taught workshops worldwide, particularly at the Maine Photographic Workshops (now Maine Media Workshops), Maine Media College (as part of the graduate faculty), the Art Institute of Boston at Lesley University, Anderson Ranch in Colorado, Santa Fe Workshops in New Mexico, the Friends of Photography in Carmel, California, and in Europe at the Rencontres d'Arles in Arles, France, the Toscana Photographic Workshops in Tuscany, Italy, as well as workshop programs in Finland, Norway, Luxembourg, and China. Minkkinen served a second four-year term as national board member of the Society of Photographic Education (2008 to 2016). Since 2009, Minkkinen has developed a growing interest in feature filmmaking and screenwriting. In 2010, he received a first-round of support from the Finnish Film Foundation for a screenplay he had written and will be directing. It will be shot in Finnish Karelia and Finntown, Brooklyn. The demo preview of The Rain House was screened at the Film Society of Lincoln Center's Elinor Bunin Munroe Film Center in connection with the Dance Films Association's 41st Dance on Camera Festival (2013).Source: Wikipedia Finnish-American photographer Arno Rafael Minkkinen has been capturing self-portraits of his nude body in natural surroundings for the better part of five decades. More than just existing in these scenic locations, Minkkinen fully merges his limbs and torso like a chameleon, blurring the lines between where the world ends and his body begins. The methods used to create these bold and uninhibited shots pre-date the use of Photoshop by decades, instead of relying on a simple 9-second shutter release that allows Minkkinen to quickly pose for each shot. He usually works completely alone, and won’t let anyone else look through his camera’s viewfinder, lest they instead be labeled ‘the photographer.’ What may appear as a simply composed photo with fortuitous timing, is often the result of Minkkinen taking dangerous risks as he submerges himself in strong currents, buries himself in ice, or balances precariously on the edge of a cliff.Source: Colossal
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In our latest exclusive feature for All About Photo, I speak with veteran photography representative Frank Meo about what it truly takes to build a sustainable creative career today. Frank brings decades of experience working with Fortune 500 companies, major agencies, and documentary photographers to the table. We dive into the critical business skills often left out of art school curriculums, the power of mentorship, and the inspiring evolution of PROJECTIONS—his international salon platform for visual storytellers. It’s an essential read for anyone navigating the commercial or editorial photography landscape today.
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Exclusive Interview with Marijn Fidder
Interview
Exclusive Interview with Marijn Fidder
Marijn Fidder is a Dutch documentary photographer whose work powerfully engages with current affairs and contemporary social issues. Driven by a deep sense of social justice, she uses photography to speak on behalf of the voiceless and to advocate for the rights of those who are most vulnerable. Her images have been widely published in major international outlets including National Geographic, CNN Style, NRC Handelsblad, Volkskrant, GUP New Talent, and ZEIT Magazin. Her long-term commitment to disability rights—particularly through years of work in Uganda—culminated in her acclaimed project Inclusive Nation, which earned her the title of Photographer of the Year 2025 at the All About Photo Awards. She is also the recipient of multiple prestigious honors, including awards from World Press Photo and the Global Peace Photo Award. We asked her a few questions about her life and work.
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