All about photo.com: photo contests, photography exhibitions, galleries, photographers, books, schools and venues.
FINAL DAYS TO ENTER AAP MAGAZINE B&W: PUBLICATION AND $1,000 CASH PRIZES
FINAL DAYS TO ENTER AAP MAGAZINE B&W: PUBLICATION AND $1,000 CASH PRIZES
Peter Allert
Peter Allert
Peter Allert

Peter Allert

Country: Germany

Peter Allert co-founded Munich-based Allert&Hoess Photography in 1989, specializing in still life , technical and scientific photography. This brought him while his study of biology before, to start as self-taught photographer. After setting up its own studio in 1991 and establishing its own light, lab and print facilities, the company made its breakthrough in 1992 with a photo series for the portfolio „Joop! – women’s shoes“. Its subsequent client list is long and prestigious: Mercedes Benz, Audi, VW, BMW, Ford, Philip Morris, McDonalds, Ballantines, Wrigleys, Veltins, Wella, Miele, Bosch, Dresdner Bank, Deutsche Bahn AG, Siemens, LogiTech, MAN, Microsoft, GREENPEACE... to name a few. Today his photography actually is artistic. His works now are altogether advanced elaborations. He is working with multiple-exposures and different focus adjustments within a photograph. Additionally he highlights his subjects with spotlights (DEDO Lights) for every individual exposure in different adjustments and configurations.

Source: www.peterallert.de



Interview with Peter Allert

All About Photo: Where did you study photography?
Peter Allert: At the age of 7, I've been fascinated by photography. I got my first camera for his birthday and it went right now with this new adventure. During the whole period of schooling and youth I was obsessed with the possibilities of this medium... it was back then to my great passion.

My love of nature and my subsequent study of biology, were another fertile ground for the expansion of my photographic works in new and fascinating areas.

Later, I got access to advertising photography. I worked very successfully for 17 years in advertising, primarily for the automotive industry and in fashion.

Ten years ago, then started my burnout, I was too other-directed and under constant pressure. Finally I lost my soul - I fell emotionally in a Coma, which never ended and I lost all my passion for photography!

Only after many painful and difficult years, then a miracle, my miracle! In September 2013, I suddenly felt a new and ever expectant strength in me. She became stronger and stronger and I got my second chance! I quickly realized that I may never work externally determined with photography again - so I had a strong desire to completely new and original ways to go in photography. And so the desire as an artist within the photograph was made to work.

AAP: Do you have a mentor?
PA: I am self-educator and have teach me everything completely yourself. I have been doing all learned to make all analog laboratory processes such as color negative films and slide films to develop or color enlargements and edit. But also all black & white I have processes teach me ... Method as bromoil print have inspired to my digital workflow in today's time to orient myself to it.

I grew up with analog photography and this has shaped me first of all. Thus, I am now very well be able to touch this analog in my image processing to achieve!

AAP: How long have you been a photographer?
PA: I have worked for over 20 years as a professional photographer. Before that, I financed my studies in Biology with smaller photo jobs. My first photos were nature photography, macro photography of animals and plants. After this the portrait photograph was added.

AAP: What or who inspires you?
PA: Edward Steichen & Robert Mapplethorpe! Both have always touched my soul in a special way!

But in general I consider myself away from These kinds of inspiration! It would be too manipulative and determined by others, to allow more of it than I do this currently...

AAP: How could you describe your style?
PA: My style has only an analog touch, which often is derived from the early days of analog photography. I am fascinated by this authenticity that has shaped this wonderful photography. The soul of this unique works is always a great motivator for my own photography!

AAP: What kind of gear do you use? Camera, lens, digital, film?
PA: I'm using a Canon EOS mark II and a zoom ED 21-70 mm and a 100 mm lens for portraits. Lately I have been photographing with the camera of my Gallaxy S4 smartphones .. just for trying new.

AAP: Do you spend a lot of time editing your images? For what purpose?
PA: My image processing is very complex and requires a lot of time, which I'm taking. Often I need this more than a week!
It is a process, similar to an adventure through your own soul. I have to feel all this, sometimes in a painful way - they are pure emotions of myself, which I will in this work with integrate into my images.
There is no motivation necessary because it is the pure passion, if the appropriate moment has arrived! It's all about that moment, that when my emotions are ready and my soul opens up entirely!

AAP: Favorite(s) photographer(s)?
PA: Edward Steichen & Robert Mapplethorpe!

AAP: What advice would you give a young photographer?
PA: My main advice is: Stay always hear and feel your self-determined and soul in your work! Everything should come from your heart and your soul and feed into your work.

AAP: An idea, a sentence, a project you would like to share?
PA: Photography is the dierekte wire to my soul - my pictures are the direct reflection of my soul .. this my pictures tell of my feelings and my emotions. Each photo tells its own to profound story. Each image is thus a profound adventure of a portion of my own soul! This means to me that photography today!

AAP: Anything else you would like to share?
PA: As a little boy I dreamed of good spirits and fairies - I was intrigued by this mystical world! And so this dream accompanied my life ... When I felt my soul again in September 2013, I knew very quickly with this message deal. I was aware that puts a special soul in some, few people! And this I felt ever again. So this new photography had to include this topic. "Ghosts & Fays" and "Souls"!

 

Peter Allert's Video

Inspiring Portfolios

Call for Entries
AAP Magazine #58 B&W
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

Peter Sekaer
Denmark
1901 | † 1950
Peter Sekaer was a Danish photographer and artist. Born in Copenhagen, Denmark, Sekaer came to New York in 1918 to seek freedom and opportunity. By 1922 he had a reputation as a master sign painter and had his own successful business producing posters. Several years later he began to take classes at The Art Student's League. Sekaer soon became acquainted with Ben Shahn, who may have been the one to introduce him to photography and who later introduced him to Walker Evans. After 1933, he devoted himself exclusively to photography, studying with Berenice Abbott at the New School for Social Research, and assisting Walker Evans on the project of photographing the Museum of Modern Art's African sculpture collection. In 1936 Sekaer accompanied Evans, who was hired by the Resettlement Administration (RA, later to become the FSA) on a photographic journey throughout the South, often shooting the same subject. Like many of his contemporaries, Sekaer sought to capture the real world with photographs that combined artistic expression with a personal commitment to social change. From 1936 to 1942 Sekaer became a professional photographer and was hired by the federal government agency, the Rural Electrification Administration (REA), and later became the head of the REA's graphic department. In 1938 the REA sent Sekaer to the United States Housing Authority (USHA). The photographs Sekaer made for the USHA, an agency primarily concerned with the removal of city slums and sponsorship of public urban housing, reveal his continued interest in the richness of human experience and environment. Transferred again in 1940 Sekaer photographed Navajo and Pueblo Indians for the Office of Indian Affairs. That same year, he worked as photographic researcher and still photographer for the REA film Power and the Land. After 1942 he continued working for other federal agencies photographing briefly for the Office of War Information (OWI), and the American Red Cross-agencies whose agendas conflicted with his own, and limited his freedom in artistic expression. Continually frustrated by this, Sekaer left Washington, DC for New York where he freelanced for several years, doing fashion and editorial assignments until he died of a heart attack at the age of 49 in 1950. Although Sekaer's photographs were widely published and exhibited during his lifetime, his work largely became forgotten after his death until an exhibition held in 1980 at the Witkin Gallery in New York and later in 1990 at the Royal Library in Copenhagen for which a catalog was published. Many of Sekaer's photographic prints can be seen in the public collection of the Royal Library in Copenhagen. The High Museum of Art in Atlanta acquired a trove of more than seventy rare vintage prints by Sekaer, the largest holding of its kind in any American art museum. Many of these works have never been on public view. From June 2010 until January 2011, the museum staged an exhibition of Sekaer's work titled Signs of Life.Source: Wikipedia
Anna Matysiak
Poland
1978
Anna Matysiak, born in 1978, is an independent photographer working in the fine art style. With a keen eye for detail and an innate ability to convey emotion, she particularly enjoys capturing the essence of her subjects through portrait photography. Although her educational background is in economics, her passion for the arts led her to fully immerse herself in the world of photography, a journey she began in 2020. In addition to her striking portraits, Anna's portfolio showcases an impressive array of conceptual and nude photography, highlighting her versatility and creative vision. Her work has gained significant recognition, with photographs exhibited in prestigious venues across the globe, including Tucson in the United States, London in the United Kingdom, Vien in Austria, Siena in Italy and Szczecin in Poland. Through her lens, Anna invites viewers to explore the profound beauty and complexity of the human experience. Matysiak garnering recognition in numerous prestigious international competitions. These contests were judged by a jury panel of esteemed professionals, including gallery owners, publishers, editors, and acclaimed photographers, all of whom brought a wealth of experience and expertise to their evaluations. She has received numerous prestigious awards. In 2025, she won a bronze medal in the Tokyo International Foto Awards in the Fine Art (Other) category and a special award in the Vienna International Photography Award in the Free Subject category. In 2024, she won a bronze medal in the Fine Art category at the Chromatic Awards. In 2023, she received a gold medal in the Fine Art (Other) category at the ND Awards. Since 2021, her works have also been awarded distinctions in the Creative Photo Awards (Siena Awards), International Photography Awards, Fine Art Photography Awards, Annual Photography Awards, and Budapest International Foto Awards. Currently based in Szczecin, Poland. STATEMENT: "When I embarked on my journey into photography, my initial focus was primarily on portrait photography, capturing the essence of people as they were. However, deep down, I yearned to express more than just a straightforward depiction. As time passed, my artistic vision evolved, heavily influenced by the remarkable artists I held in high regard— distinguished photographers and talented painters whose works stirred something within me. I increasingly felt compelled to illustrate people and places through my lens, revealing how I perceive their beauty and intricacies. My aim was to highlight my subjects' hidden depths, enabling them to resonate with viewers on a reflective level. In the present day, my creative process often revolves around symbolism. I cherish the notion that viewers can engage with my images, pondering their meanings and engaging in conversations about them. The nature of my work is significantly shaped by my surroundings. Every photograph I take is a product of the environment and the individuals I encounter throughout my journey. A distinct location may ignite a vision for an artistic photograph, while an intriguing individual might inspire a unique portrait. Even melodies in my surroundings can trigger the imagery I wish to convey and the narratives I long to tell. When approaching the creation of conceptual photography, I immerse myself in meticulous preparation. Each detail is carefully curated to ensure the final presentation aligns with my artistic intent. While the subject matter varies widely, a common thread runs through all my work: capturing the viewer's attention enough to provoke thought and facilitate the discovery of more profound messages. Photography is not just a pursuit for me - it is a rofound passion that fills my heart with joy. This joy magnifies with the reach of my audience. Each accolade, award, and exhibition serves as wings that propel me forward, motivating me to delve deeper into my art. I believe that every artist crafts their work with an audience in mind. As I maintain a critical eye on my creations, the praise and recognition I receive from esteemed figures in the photographic world inspire me to elevate my craft, embrace new challenges, and continue this exhilarating journey of self-expression."
Gabriel Isak
Sweden
1990
Gabriel Isak was born in 1990 in Huskvarna, Sweden. In 2016, he received his Bachelor of Fine Arts Degree in Photography at Academy of Art University in San Francisco, California. Isak has exhibited his work at solo exhibitions at The Cannery Gallery, San Francisco, California and his works have been included in various important exhibitions including "Acclimatize" at Museum of Modern Art, Stockholm, Sweden and "Culture Pop" at M Contemporary, Sydney, Australia. Isak lives and works in Stockholm, Sweden, from where he travels all around the world for personal and commissioned projects. Artist Statement Gabriel Isak's art entails surreal and melancholic scenes where he invites the viewer to interact with the inner world of solitary figures that symbolize our own unconscious states. He uses photography as a medium to draw and paint surreal images, minimal and graphic in its aesthetic, rich in symbolism and emotion, focusing on themes inspired by human psychology, dreams and romanticism, as well as his own experiences, especially the years he went through depression. Isak's work is a serene and melancholic meditation that stills the chaos of life and transforms into an introspective journey that questions the depths of existence. The objective of Gabriel Isak's art is to shine a light on the experiences of being and the states of mind those brings along. His subjects are anonymous, imprisoned in monochromatic settings, so the viewer can envision oneself as the subject, reflecting back on one's own experiences and journey in life.
Ofir Barak
My name is Ofir Barak, I'm a photographer based here in Jerusalem. I can honestly say that I have been an artistic person all my life. I started out as a painter and was very passionate about it from a very early age. In 2013 I was lacking the motivation to create I was frustrated and I decided to put it aside and look for a new path to express myself through art. I needed to travel somewhere and clear my mind and look for answers. In order to move beyond my struggle, I needed to surround myself with every form of art I could find - literature, poetry, paintings, architecture - anything goes. I remembered that the museums in D.C have free admission, so I decided to go there. Each day I wandered into a different museum and enjoyed the art galleries. One day, accidentally, I entered an exhibition of a photographer from the wrong side - where people exit. I didn't know who the photographer was, but I was struck by his images. At that moment, I had an epiphany - this is what I want to do. This is what I can do. I spent two hours at the gallery and realized that I just couldn't consume it all in once. I went back there three more times to learn about the photographer - Garry Winogrand and each time I focused on different photographs. In the exhibition there was also a small screening room showing his famous talk at Rice University. I took a notebook with me each visit and sat at the corner of the room - writing down what I want to achieve and how. After returning home, i decided to work on a first project of my own. Between the years 2014 and 2017, I photographed constantly and on a weekly basis the neighborhood of Mea Shearim. I attended protests, holidays and weekdays tring to present a full documentation of a religious society here in Jerusalem. After 3 years and 15k pictures, a self published book was released under the title of "Mea Shearim - The streets". The project was well received within the world of photography rewarding me a Magnum Photos prize for the street photograph of the year, and a nomination for a Hasselblad masters in 2018. Parts of the project were exhibited in different locations including the jewish museum in berlin, the Lucie foundation - Month of photography photo book exhibition in the Us and many others. After completing this project, I have realized it has now become a starting point to a much larger project regarding religion in Jerusalem and a three parts books. The book is sold here at the event and if you liked the talk, feel free to take a look in the open copy and purchase one. About the Streets of Mea Shearim During the 1870s the city within the walls of Jerusalem were undergoing a serious crisis. An increase in population, especially in the Jewish quarter, resulted in high housing prices and poor sanitation.The Ottoman government failed to remove garbage dumps and eventually the pollution seeped into the water pits, causing a rise in disease and mortality rates among the population within the walls. This drove the Jewish community to establish neighborhoods outside the walls, and by 1873 four such neighborhoods were built - "Mishkenot Sha'ananim" (1880), "Mahane Israel" (1886), "Nahalat Shiva" (1869) and "Beit David" (1873). A small group of about one-hundred young Ashkenazi Jews who believed that moving outside the walls would help them improve their standard of living, decided in 1874 to combine their resources. They were able to purchase a tract of land outside the walls for a new settlement. It would have one-hundred houses and would serve as the fifth neighborhood outside the city walls. The name which they chose for that piece of land, Mea Shearim, was derived from a verse in the Torah portion that was read in the week the neighborhood was founded: "Isaac sowed in that land, and in that year he reaped a hundredfold (Mea Shearim); God had blessed him" (Genesis 26:12). Construction began around April 1874, by both Jewish and non-Jewish workers. Contractors, builders and plasterers were Christian Arabs from Bethlehem, and Jewish craftsmen also contributed. By December 1874, the first ten houses were standing. At first Mea Shearim was a courtyard neighborhood, surrounded by four walls with gates that were locked every evening. By October 1880, 100 apartments were ready for occupancy and a lottery was held to assign them to families. Between the years 1881 and 1917, more houses and neighborhoods were built. New neighborhoods surrounded Mea Shearim and helped establish a large Jewish presence outside the walls. By the turn of the century there were 300 houses, a flour mill, and a bakery. Mandatory Palestine under British administration had been carved out of Ottoman southern Syria after World War I. The British civil administration in Palestine operated from 1920 until 1948. During its existence the country was known simply as Palestine. The British regime was welcomed by the residents of Mea Shearim, who maintained good relations with the authorities for the good of the neighborhood. As a result, access roads to the area were improved, the neighborhood markets prospered, old shops were renovated, and new shops opened. Mea Shearim continued to grow, and by 1931 it was the third largest neighborhood in Jerusalem. This growth enhanced the neighborhood's status and importance, but daily life became more difficult, as many of the houses were populated with a large number of people resulting in sanitary conditions that endangered their health. The neglect of the Ottoman regime continued to set the tone, and lack of proper drainage caused rain to flood the streets and even people homes. There was a rise in poverty, resulting not only in a deterioration of the houses outer appearance but also in a spread of diseases. The neighborhood's uniform appearance also began to change, as different kinds of constructions materials came into use, resulting in non-uniform façades. Cheap tin became an alternative to the Jerusalem stone commonly used for construction. In 1948 the Arab-Israeli war broke out and Jerusalem was divided between two countries - Israel and Jordan. The border was very close to Mea Shearim and the neighborhood suffered from military attacks and damage to buildings. Within the next 20 years ,the neighborhood would suffer from decreasing population as the children of the second founding generation moved to orthodox neighborhoods nearby, leaving as few as 170 houses occupied out of a total of 304. In later years the residents returned and the population grew once again. The population remained isolated and segregated, because it refused to cooperate with the government of Israel. Street posters (Pashkvilim) began to appear on a public walls calling on residents not to serve in the Israeli army, not to vote or be elected to the Israeli parliament, and not to participate in Israel's Independence Day celebrations. Today, Mea Shearim remains loyal to its old customs and preserves its isolation in the heart of Jerusalem while trying to stave off the modern world; it is, in a way, frozen in time. The numerous renovations of houses at the end of the 20th century hardly affected the appearance of the neighborhood. They are still common today but fewer in numbers. Houses that were built over one hundred years ago stand alongside a few new ones. The life of the Hasidic community still revolves around strict adherence to Jewish law, prayer, and the study of Jewish religious texts. The large majority of the people are Ashkenazim; there are hardly Sephardic Jews in the neighborhood. In addition to some well-to-do family there are also many needy ones, which are helped by local charity institutions. The traditional dress code remains in effect here; for men and boys it includes black frock coats and black hats. Long, black beards cover their faces and many of them grow side curls called "payots".Women and girls are urged to wear what is considered to be modest dress - knee-length or longer skirts, no plunging necklines or midriff tops, no sleeveless blouses or bare shoulders. Some women wear thick black stockings all year long, and married women wear a variety of hair coverings, from hats to wigs and headscarves. The common language of daily communication in Mea Shearim is Yiddish, in contrast to the Hebrew spoken by the majority of Israel's Jewish population. Hebrew is used by the residents only for prayer and religious study, as they believe that Hebrew is a sacred language to be used only for religious purposes. This is the story of the ongoing battle between the old and the new, the past versus the present, this is the everyday life of a city within a city. My grandmother and I had a special bond. We developed a habit that once a week, usually on Mondays, we cleared our schedule and sat down to discuss the photographs I took. We talked the stories behind the photos, the people, even how the weather affected the light in the pictures. At first, photography was something foreign for both of us and with time, we developed a passion for it. We loved our gatherings and anticipated them every week. In early 2014 things changed, we had fewer opportunities for our weekly routine as her health had begun to deteriorate. She received treatments on a weekly basis and eventually had to be under medical supervision and hospitalized. On one of the visits as I sat by her bed, I wanted to ease her mind from the treatments she received and asked if she would like to see a photograph I took the day before. She immediately said yes and was very enthused when I showed her the photograph. We ended up taking and analyzing the photo as we used to, freeing our minds from the hospital room we were in. Neither of us knew that it would be our last time together. After her death, I decided to do a project based on the last photograph she ever saw. This one photo has led me on a journey, photographing the streets of Mea Shearim. Discover The Christians of Jerusalem
Claudia Tombini
Born in Rome in 1968, after an initial artistic training, Claudia Tombini studied Architecture at La Sapienza University. After graduating, she followed a PhD in Architecture - Theories and Design at the DIAR department of the same University. Professionally active in her hometown since 2006, she carries out her work independently after a three-year collective experience with studio A4, winner of several mentions and awards. Specialized in architectural design, she has always combined research and design. Her latest work is the restoration of the Troisi Cinema in Trastevere. In 2016 she began her own photographic research, collaborating in some of Officine Fotografiche's activities. In 2019/20 she participates in "Human" curatorial workshop with Luigi Cecconi and Francesco Rombaldi, from Yogurt Magazine, during which she elaborates her own project MoveTo LineTo. Moveto Lineto "'Living is an art of spacing,' as Jean-Marc Besse teaches us, and living is mainly a question of geography. After a lifelong dedication to architecture I now discover, thanks to these words, that living is not about architecture or city planning, nor, more generally, about construction: living is geography. There is a human sense to architecture, which even preexists architecture, as we actually live our lives outside of it, in an unbroken series of passages, intersections, and places which all leave their own special resonance and memory inside us. As I move through these, without ever pausing in the gaps — sometimes more, sometimes less consciously — I find myself measuring out the distances I have covered. Not in terms of space, though, as when it comes to landscapes distance is actually temporal, and measuring it out in its complexity is no easy task. As Matteo Meschiari has said, what I am after is “an altered state of conscience in which the landscape is simultaneously medium and recipient, cause and effect, reactor and reaction”: it is a matter of sensorial dilation. I gaze back on these landscapes, “before” and “after”, I scrutinize them to reproduce them virtually, searching for the same old viewpoints, as if they were light years away. This is the effect any catastrophic event will have on us, namely making us believe that all linearity is forever lost, as if time actually flowed in a linear way. Knowledge will not do, knowing that history is all but linear is not enough: we won’t give up our linear idea of it, and we will feel lost when confronted with any interruption of it, with any interval, any blank gap, no matter how temporary. I have been ceaselessly trying to heal the wounds that the surface of things displays, because it is on the surface that we move, it is the surface we perceive, with its naked spaces, where only the absence or the lost track of what has happened is visible. Indeed, any figuration registers an appearance that is destined to vanish, and it is through imagination that we manage to value what is actually not there. It is through the abstraction of a virtual image, an image never completely resolved in its structure and its appearance, that I have been trying to turn the image itself into matter, and thereby restore to it a potential wholeness that I feel is unattainable to me today. This new matter will do, for the time being, to represent the times and places of our passages, and the gaps in between. Like a postscript file, it will be readable in its own right, by its own definition. " -- Claudia Tombini
Bruno Barbey
France
1941 | † 2020
Bruno Barbey is a Moroccan-born French photographer. Throughout his four-decade career he has traveled across five continents, photographing many wars. Barbey was born in Morocco and in 1959-1960 he studied photography and graphic arts at the Ecole des Arts et Métiers in Vevey, Switzerland. During the 1960s he was commissioned to photograph European and African countries by Editions Rencontre in Lausanne. In 1964 Barbey began a relationship with Magnum Photos, becoming an Associate member in 1966, and a full member in 1968, at which time he was photographing student riots in Paris. He eventually served as Magnum vice president for Europe in 1978 and 1979 and from 1992-1995 as President of Magnum International. He spent 1979 to 1981 photographing Poland, resulting in his book Portrait of Poland. He rejects the label of 'war photographer', although he has covered civil wars in Nigeria, Vietnam, the Middle East, Bangladesh, Cambodia, Northern Ireland, Iraq, and Kuwait. From 2005 Barbey has, among other work, been pursuing a project on Istanbul. Source: Wikipedia Bruno Barbey was born on Feb. 13, 1941, in Berrechid, Morocco, just south of Casablanca, and grew up in various parts of the country: Rabat, Salé, Marrakesh and Tangiers. His father, Marc, was a diplomat; his mother was Marie Clement-Grandcourt. From a young age he knew he wanted to travel the world like Antoine de Saint-Exupéry, the French writer and aviator. Bruno’s parents sent him to Paris for high school, where he was a “dunce and a thwarted lefthander,” he wrote in his retrospective photographic book, Passages (2015). He and his friends skipped classes to see movies by Italian neorealist filmmakers like Roberto Rossellini and Vittorio De Sica. Mr. Barbey entered Ecole Des Arts et Métiers in Vevey, Switzerland, in 1959 to study photography and graphic arts, but left after a year, because his courses had focused on advertising and industrial photography. He craved the freedom to pursue a single subject for an extended period as the Swiss documentary photographer Robert Frank did in his groundbreaking book The Americans, which was published in France in 1958. Following Frank’s example, Mr. Barbey drove through Italy in a used Volkswagen in the early 1960s, photographing its people in black-and-white in a neorealist style. “My goal,” he wrote in Passages, “was to capture the spirit of the place.” He caught dozens of moments in the life of a nation: a family racing along on a scooter, each person ebullient save for the pregnant mother; a group of girls whose joyful expressions contrast with that of a doleful beggar holding out his hand behind them; little boys playing with realistic-looking weapons; and a host of other characters like prostitutes, priests, old men and Mafiosi. The photographs - which would later be published as The Italians in 2002 - brought him to the attention of Magnum, where he worked for more than 50 years. In addition to the Paris demonstrations, he covered conflicts in the Middle East, Nigeria, Vietnam and Cambodia and recorded life in China, Brazil, India, Japan and Spain. He spent much of 1981 in Poland during the rise of the Solidarity trade union, capturing Poles in a period of turmoil and torment. He collected the pictures in Portrait of Poland (1982). “He brought genteel attention to the human experience — with a lot of kindness,” Gilles Peress, another Magnum photographer, said in a phone interview. Mr. Barbey, whose photographs have been widely exhibited, received the French National Order of Merit and was elected a member of the French Academy of Fine Arts, Institut de France, in 2016. He served as a Magnum executive at two different times. In addition to his wife, he is survived by a daughter, Aurélie Barbey; a son, Igor; two sisters, Loïse Barbey-Caussé and Adelaïde Barbey-Guissinger; two brothers, Dominique and Guy; and four grandchildren. Although he left Morocco at age 12, Mr. Barbey kept returning there, lured by its rich colors, light and architecture. Many of his photographs were of quiet moments: a bride showing off her hands decorated with a henna design; a golden-hued interior with a distant figure in a black-and-white striped robe blending into the floor’s design; red hides drying in the sun; and a person in black walking down a lane bracketed by pink walls. “Its very difficult to photograph there,” Mr. Barbey was quoted as saying on Magnum’s website, “because in Islam photography is supposed to bring the evil eye.” He added: “You have to be cunning as a fox, well-organized and respect some customs. The photographer must learn to merge into walls. Photos must either be taken swiftly, with all the attendant risks, or only after long periods of infinite patience.”Source: New York Times
Saul Leiter
United States
1923 | † 2013
Saul Leiter was an American photographer and painter whose early work in the 1940s and 1950s was an important contribution to what came to be recognized as the New York school of photography. Saul Leiter was born in Pittsburgh, Pennsylvania. His father was a well-known Talmud scholar and Saul studied to become a rabbi. His mother gave him his first camera at age 12. At age 23, he left theology school and moved to New York City to become an artist. He had developed an early interest in painting and was fortunate to meet the Abstract Expressionist painter Richard Pousette-Dart. Pousette-Dart and W. Eugene Smith encouraged Leiter to pursue photography and he was soon taking black and white pictures with a 35 mm Leica, which he acquired for a few Eugene Smith prints. In 1948, he started taking color photographs. He began associating with other contemporary photographers such as Robert Frank and Diane Arbus and helped form what Jane Livingston has termed the New York School of photographers during the 1940s and 1950s. Leiter worked as a fashion photographer for the next 20 years and was published in Show, Elle, British Vogue, Queen, and Nova. In the late 1950s the art director Henry Wolf published Leiter’s color fashion work in Esquire and later in Harper's Bazaar. Edward Steichen included Leiter’s black and white photographs in the exhibition Always the Young Stranger at the Museum of Modern Art in 1953. Leiter’s work is featured prominently in Jane Livingston’s book The New York School (1992) and in Martin Harrison’s Appearances: Fashion Photography since 1945 (1991). In 2008, the Fondation Henri Cartier-Bresson in Paris mounted Leiter's first museum exhibition in Europe with an accompanying catalog. Leiter is the subject of a 2012 feature-length documentary In No Great Hurry - 13 Lessons in Life with Saul Leiter, directed and produced by Tomas Leach. Leiter is a featured subject, among others, in the documentary film Tracing Outlines (2015) by 2nd State Productions. Martin Harrison, editor and author of Early Color (2006), writes, "Leiter’s sensibility . . . placed him outside the visceral confrontations with urban anxiety associated with photographers such as Robert Frank or William Klein. Instead, for him the camera provided an alternate way of seeing, of framing events and interpreting reality. He sought out moments of quiet humanity in the Manhattan maelstrom, forging a unique urban pastoral from the most unlikely of circumstances." Leiter died on 26 November 2013 in New York City.Source: Wikipedia When we do not know why the photographer has taken a picture and when we do not know why we are looking at it, all of a sudden we discover something that we start seeing. I like this confusion. -- Saul Leiter Leiter’s first exhibition of color photography was held in the 1950s at the Artist's Club, a meeting place for many of the Abstract Expressionist painters of that time. Edward Steichen included twenty-three of Leiter's black and white photographs in the seminal 1953 exhibition Always the Young Stranger at the Museum of Modern Art; he also included twenty of Leiter’s color images in the 1957 MoMA conference Experimental Photography in Color. In the late 1950s, the art director Henry Wolf published Leiter's color fashion work in Esquire and later in Harper's Bazaar. However, over the next four decades, Leiter’s noncommercial work remained virtually unknown to the wider art world. He continued to work as a fashion photographer through the 1970s, contributing to such publications as in Show, Elle, British Vogue, Queen, and Nova. Leiter is now held to be a pioneer of early color photography, and is noted as one of the outstanding figures in post-war photography. After several exhibitions at Howard Greenberg Gallery throughout the 1990s, Leiter’s work experienced a surge of popularity after a monograph, Early Color, was published by Steidl in 2006. Early Color was followed by a series of monographs and international exhibitions highlighting the depth and scope of his work in photography and painting, beginning with In Living Color (2006), his first major retrospective at the Milwaukee Museum of Art. Leiter was the subject of several solo shows thereafter, including the Fondation Henri Cartier-Bresson, Paris; the Jewish Historical Museum, Amsterdam; Musée de l’Elysée, Lausanne; and Diechtorhallen, Hamburg.Source: Howard Greenberg Gallery Some photographers think that by taking pictures of human misery, they are addressing a serious problem. I do not think that misery is more profound than happiness. -- Saul Leiter
Advertisement
AAP Magazine #58 B&W
Win a Solo Exhibition in June
AAP Magazine #58 B&W

Latest Interviews

Exclusive Interview with Carolyn Moore
American photographer Carolyn Moore explores the inner landscape of emotion, memory, and personal transformation through a deeply intuitive photographic practice. Her work unfolds as a quiet dialogue between artist and viewer, where images become a space for reflection, vulnerability, and connection.
Exclusive Interview with Luca Desienna and Laura Estelle Barmwoldt
For over seven years, Of Lilies and Remains has explored the depths of the goth and darkwave underground, unfolding in Leipzig—a city long associated with a vibrant and enduring subcultural scene. Moving between iconic gatherings such as Wave-Gotik-Treffen and more intimate moments on the fringes, the project offers a rare and immersive glimpse into a world often misunderstood, yet rich in expression and community. Created by Luca in collaboration with Laura Estelle Barmwoldt, the work embraces a cinematic and deeply personal approach. Rather than documenting from a distance, it moves within the scene itself, capturing its atmosphere, its codes, and its quiet contradictions. The title Of Lilies and Remains hints at this duality—where beauty and darkness, fragility and strength coexist. As the book prepares for its release, we spoke with both artists about the origins of the project, their process, and what it means to document a subculture that continues to evolve while remaining true to its spirit.
Exclusive Interview with Matthew Finley
American photographer Matthew Finley turns inward, using photography as a way to explore identity, memory, and emotional truth. Based in Los Angeles, his practice moves between performance, gesture, and found imagery, creating a visual language that is both intimate and deeply personal
Exclusive Interview with Jan Janssen
Dutch photographer Jan Janssen explores universal human experiences through his long-term project It Matters, winner of the May 2025 Solo Exhibition. Begun in 2016, the series captures intimate moments of everyday life—love, loss, connection, and belonging—across Central and Eastern Europe. Working in countries such as Turkey, Azerbaijan, and Armenia, Janssen spends extended time within communities, building relationships based on trust and respect. His approach allows him to move beyond observation, revealing deeply human and authentic moments. Rooted in travel and personal discovery, It Matters reflects Janssen’s search for what connects us all in an increasingly divided world. The project is ongoing and will culminate in a photobook scheduled for publication in 2026.
Exclusive Interview with Henk Kosche
German photographer Henk Kosche turns his lens toward the streets of Halle an der Saale, capturing everyday life in the late years of the former German Democratic Republic. At the time, Kosche was studying design and exploring the city with his camera, drawn to the atmosphere of its industrial landscape and the quiet rhythms of daily life. His series Street Photography at the End of the 80s, selected as the Solo Exhibition for July 2025, revisits a body of work created just before a period of profound change. Rediscovered decades later in a small box of 35mm negatives, these photographs offer glimpses of a city and its people at a moment suspended between the familiar and the unknown.
Exclusive Interview with Anastasia Samoylova
Anastasia Samoylova is an American artist whose photographic practice is shaped by close observation and a deep attentiveness to place. Working between documentary and formal exploration, she photographs landscapes, architecture, and everyday scenes with a sensitivity to light, structure, and atmosphere. Since relocating to Miami in 2016, her work has increasingly focused on how environments—both natural and built—carry social, cultural, and emotional traces. We asked her a few questions about her practice and her way of seeing, to better understand the thoughts and experiences that shape her work—while allowing the images themselves to remain open and speak in their own time.
Exclusive Interview with Marijn Fidder
Marijn Fidder is a Dutch documentary photographer whose work powerfully engages with current affairs and contemporary social issues. Driven by a deep sense of social justice, she uses photography to speak on behalf of the voiceless and to advocate for the rights of those who are most vulnerable. Her images have been widely published in major international outlets including National Geographic, CNN Style, NRC Handelsblad, Volkskrant, GUP New Talent, and ZEIT Magazin. Her long-term commitment to disability rights—particularly through years of work in Uganda—culminated in her acclaimed project Inclusive Nation, which earned her the title of Photographer of the Year 2025 at the All About Photo Awards. She is also the recipient of multiple prestigious honors, including awards from World Press Photo and the Global Peace Photo Award. We asked her a few questions about her life and work.
Exclusive Interview with Josh S. Rose
Josh S. Rose is a multidisciplinary artist working across photography, film, and writing. His practice bridges visual and performing arts, with a strong focus on movement, emotion, and the expressive potential of the image. Known for his long-standing collaborations with leading dance companies and performers, Rose brings together authenticity and precise composition—a balance he describes as “technical romanticism.” His work has been commissioned and exhibited internationally, appearing in outlets such as Vogue, at the Super Bowl, in film festivals, and most recently as a large-scale installation for Lincoln Center for the Performing Arts. A sought-after collaborator, he has worked with major artists, cultural institutions, and brands, following a previous career as Chief Creative Officer at Interpublic Group and the founder of Humans Are Social. We asked him a few questions about his life and work.
Interview with Maureen Ruddy Burkhart
Photographer Maureen Ruddy Burkhart brings a quietly attentive and deeply human sensibility to her exploration of the world through images. Shaped by a life immersed in photography, film, and visual storytelling, her work is guided by intuition, observation, and an enduring interest in the emotional undercurrents of everyday life. With a practice rooted in both fine art traditions and documentary awareness, she approaches her subjects with sensitivity, allowing subtle moments to emerge naturally rather than be imposed. Her series Til Death, selected as the Solo Exhibition for February 2025, reflects this long-standing commitment to photography as a space for reflection rather than spectacle. Drawn to moments that exist just outside the expected frame, Burkhart’s images suggest narratives without resolving them, leaving room for ambiguity, humor, and quiet connection. We asked her a few questions about her life and work.
Call for Entries
Win A Solo Exhibition in June
Get International Exposure and Connect with Industry Insiders