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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

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Debbie Miracolo
United States
1953
Debbie Miracolo is a photo-based artist interested in transition and passage of time. A former graphic designer with a fine art education, she creates inventive images with a sharp attention to detail and composition, often with a generous sprinkling of emotion and whimsy. She attributes her outlook to memories of an introverted childhood infused with make-believe worlds and storybooks. By transforming rather than documenting truth, her interpretations of humanity, nature, and train travel serve as seductive invitations to linger, question, and weave a story of one's own. Growing up as an only child in a home with her European parents and grandmother made her childhood reality different from that of her friends. She was introverted, shy, and intimidated by the world around her, but found that creating art alleviated some of the loneliness she felt and helped her to express her feelings. By the time she finished high school she had become skilled at drawing and painting. At Rochester Institute of Technology she earned a BFA, studying printmaking, photography, and art history, and later moved to New York City to pursue her artistic dreams. There she began a 15-year career as a graphic designer in the busy publishing and advertising industries. With the birth of her two sons and subsequent move to a Victorian house in a suburban New York town, she shifted all of her energy, diving into motherhood, and for several years the creative spirit within her lay patiently dormant. As most artists know however, that spirit never truly leaves, and as her children approached adolescence she could sense it regaining strength. Feeling drawn to photography once again, Debbie made the decision to revisit the medium as an art form. She began taking classes and workshops at the International Center of Photography, gaining mastery of the craft and honing her own personal vision. From there, there was no turning back, and she has been making and focusing on her art ever since. Debbie's work has been published, notably on the cover of Geo Wissen Magazine and most recently, in F-Stop Magazine. Her images have been exhibited in a number of galleries in New York City, Boston, St. Petersburg, Fl. and Middlebury, Vt. as well as online media. About Imagined Moments from the Porch "It was a bewildering, absurd world I found myself in during the first chaotic months of the Covid-19 outbreak. Through incongruous juxtapositions, metaphor and a bit of whimsy, these photo composites of my neighbors portray the surreal, confused and off-kilter feeling I had then, and which still lingers today. With many of us sheltering in place, pedestrian traffic had increased remarkably in my quiet town. People paraded by on the street, some of whom I'd never seen before; young and old, parents with children, and more and more dogs as the weeks went by. I began to photograph what I observed from the steps of my front porch and, over a period of four spring and summer months, the project evolved. The idea to reconstruct the photographs came to me when I needed to switch out a person, and with that one manipulation, it became clear that I would take the series in a more imaginative direction. As the virus numbers increased and the news became more alarming by the day, I digitally rearranged my characters in more unlikely ways. It was as if my wish to change reality and my doubts about what to believe were coming through in my images. Imagined Moments from the Porch is a kind of theatrical narrative made up of fictional scenes I compose to depict my off-beat version of these dark, confusing, and upside-down days." -- Debbie Miracolo
Shulan Wang
China
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Shulan Wang is a fine art photographer hailing from Hangzhou, China. She holds an M.A. in Photography from Spéos International School of Photography, an M.A. from the University of Westminster, and a B.A. from the China Academy of Art. Employing innovative creative approaches, she integrates a variety of techniques—digital darkroom processing, the soft immediacy of Polaroid, paper textures, visual installation, and the emerging language of artificial intelligence photography —each medium a thread in her visual tapestry. Rooted in the timeless motifs of time and nature, she turns her lens into a translator, rendering the quiet tension and profound resonance of life visible through every frame. Statement “Golden Dreams” exists between the ebb and flow of being and nothingness, where dreams offer balance between rationality and sensibility: 'I fantasize, I exist; I dream, I exist.’ Golden Dreams was born of the spirit’s eternal need for sanctuary, which hopes to repair the rift between past and present. The gold accents on top of the black and white photographs express the tension of dreams in life, including illusion and reality, spiritual and bodily, brightness and darkness, destruction and reconstruction, and harmony and disharmony、Yin (negative) and Yang (positive). The combination of modern photography and traditional Chinese gold powder painting provides a blurred feeling between past and present, balancing the conflict between delicate, gentle craftsmanship and calm, objective photographic techniques. Digital photography was often considered to be infinitely copyable, Shulan subverted this notion. By printing photographic works on Chinese rice paper and applying gold powder by hand, each piece bears a singular paper texture and distinct brushstrokes. Technically, she has broken through the boundaries between digital photography and the handmade darkroom, allowing objective photography to possess the freedom and variability of painting within the container of ideas. All About Photo Competitions Photographer of the Week 22, 2026
George Brassaï
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George Brassaï, the pseudonym of Gyula Halász, emerged as a Hungarian photographer, sculptor, and filmmaker who gained international recognition in 20th-century France. He was part of the vibrant community of Hungarian artists flourishing in Paris during the interwar period. In the early 21st century, the unearthing of over 200 letters and numerous drawings and artifacts from the years 1940–1984 has offered scholars valuable insights into his later life and career. Gyula (Jules) Halasz, in the Western order of his name, was born in Brassó, Transylvania, Kingdom of Hungary (known as Brasov, Romania, since 1920), to an Armenian mother and a Hungarian father. He grew up with Hungarian as his primary language. At the age of three, his family resided in Paris for a year, during which his father, a professor of French literature, taught at the Sorbonne. During his youth, Gyula Halász pursued studies in painting and sculpture at the Hungarian Academy of Fine Arts (Magyar Képzomuvészeti Egyetem) in Budapest. Subsequently, he enlisted in a cavalry regiment of the Austro-Hungarian army and served until the conclusion of the First World War. In 1920, Halász relocated to Berlin, where he took on the role of a journalist for the Hungarian newspapers Keleti and Napkelet. Simultaneously, he commenced his studies at the Berlin-Charlottenburg Academy of Fine Arts (Hochschule für Bildende Künste), now known as Universität der Künste Berlin. During this time, he formed connections with several older Hungarian artists and writers, such as painters Lajos Tihanyi and Bertalan Pór, and writer Gyorgy Boloni. These individuals, who later moved to Paris, became part of the Hungarian artistic circle. In 1924, Halász made the decisive move to Paris, where he would reside for the remainder of his life. In an effort to learn the French language, he embarked on a self-taught journey by immersing himself in the works of Marcel Proust. Living among the burgeoning community of young artists in the Montparnasse quarter, he took on a job as a journalist. It wasn't long before he forged friendships with notable figures such as the American writer Henry Miller, and the French writers Leon-Paul Fargue and Jacques Prévert. During the late 1920s, he shared the same hotel with Tihanyi. Halász's profession and his love for the city, where he often wandered the streets late at night, eventually led him to photography. Initially using photography as a means to supplement his articles for additional income, he quickly delved into exploring the city through this medium. His fellow Hungarian, André Kertész, served as his mentor in photography. Using the name of his birthplace, Gyula Halász adopted the pseudonym "Brassaï," meaning "from Brasso." Under this name, he captured the essence of the city in his photographs, culminating in the publication of his first collection in 1933 titled "Paris de nuit" (Paris by Night). The book achieved significant success, earning him the moniker "the eye of Paris" in an essay by his friend Henry Miller. In addition to capturing the more gritty aspects of Paris, Brassaï documented scenes from the city's high society, intellectuals, ballet performances, and grand operas. He formed a connection with a French family who granted him access to the upper echelons of society. Within these circles, Brassaï photographed many of his artist acquaintances, including Salvador Dalí, Pablo Picasso, Henri Matisse, Alberto Giacometti, as well as prominent writers of his era such as Jean Genet and Henri Michaux. Throughout the 1930s, a continuous stream of young Hungarian artists arrived in Paris, and the Hungarian circle welcomed most of them. André Kertèsz, a fellow Hungarian, emigrated to New York in 1936. Brassaï extended his friendships to the newcomers, including Ervin Marton, a nephew of Tihanyi, with whom he had been acquainted since 1920. Marton later gained recognition in street photography during the 1940s and 1950s. While Brassaï sustained himself through commercial work, he also contributed photographs to the U.S. magazine Harper's Bazaar. As a founding member of the Rapho agency, established in Paris by Charles Rado in 1933, Brassaï played a pivotal role. His photographs brought him international acclaim. In 1948, he held a solo exhibition in the United States at the Museum of Modern Art (MOMA) in New York City, subsequently traveling to the George Eastman House in Rochester, New York, and the Art Institute of Chicago, Illinois. MOMA featured more of Brassaï's works in 1953, 1956, and 1968. He was showcased at the Rencontres d'Arles festival in France in 1970, 1972, and 1974 as the guest of honor. In 1948, Brassaï married Gilberte Boyer, a French woman who collaborated with him in supporting his photographic endeavors.
Cindy Sherman
United States
1954
Cindy Sherman was born in 1954 in Glen Ridge, New Jersey. Sherman earned a BA from Buffalo State College, State University of New York (1976). In self-reflexive photographs and films, Cindy Sherman invents myriad guises, metamorphosing from Hollywood starlet to clown to society matron. Often with the simplest of means—a camera, a wig, makeup, an outfit—Sherman fashions ambiguous but memorable characters that suggest complex lives that exist outside of the frame. Leaving her works untitled, Sherman refuses to impose descriptive language on her images—relying instead on the viewer’s ability to develop narratives, as an essential component of appreciating the work. While rarely revealing her private intentions, Sherman’s investigations have a compelling relationship to public images, from kitsch (film stills and centerfolds) to art history (Old Masters and Surrealism) to green-screen technology and the latest advances in digital photography. Sherman’s exhaustive study of portraiture and self-portraiture—often a playful mixture of camp and horror, heightened by gritty realism—provides a new lens through which to examine societal assumptions surrounding gender and the valuation of concept over style. Among her awards are the Guild Hall Academy of the Arts Lifetime Achievement Award for Visual Arts (2005); American Academy of Arts and Sciences Award (2003); National Arts Award (2001); a John D. and Catherine T. MacArthur Foundation Award (1995); and others. Her work has appeared in major exhibitions at Sprüth Magers, Berlin (2009); Jeu de Paume, Paris (2006); the Museum of Modern Art, New York (1997); and the Museum of Contemporary Art, Los Angeles (1997); among others. Sherman has participated in many international events, including SITE Santa Fe (2004); the Venice Biennale (1982, 1995); and five Whitney Biennial exhibitions. Cindy Sherman lives and works in New York.
Sebastian Sardi
Sweden
1983
Sebastian Sardi was born in 1983 in Stockholm, Sweden. At the age of 22 he started taking classes in analog photography at the Peoples University in Stockholm. In 2009 he moved to Denmark to study photography at Fatamorgana the Danish school of art and photography. In 2011 he received a Bachelor’s degree in Art History and Visual Studies. He published his first photobook “A Cirkusz” in 2012. Sebastian began his work on photographing mines in 2008 after reading an article on how mining related injuries and deaths are systematically covered up by many authorities. 2019 his second book “Black Diamond” was published on Kehrer Verlag. Today Sebastian Sardi lives and works in Malmö and Copenhagen. Black Diamond It is an apocalyptic landscape. There are huge man-made craters everywhere that make up the visible landscape, the ground is burning, and a vast area is oozing with toxic gases, fire and smoke. Amongst all of this, there are men, woman and children digging in the soil with their bare hands. Coal is mined everywhere in Jharkhand, India, and large parts of it is sorted by hand. The locals call it; Kalaheera; or ”Black Diamond”.
Energy produced by the burning of coal is the single biggest contributor to the man-generated carbon dioxide emissions on this planet. Coal is a major part in the issue of global warming. In Jharkhand many people have been forced away from their lands when companies and authorities recognised the richness that hides in the ground. Underground fires force people to relocate. The mining companies claim they are unable to put out the fires, while the locals blame the companies for letting the fires burn so the coal can be reached and excavated from underneath their villages.

 There is a fragile balance between nature and mankind. A sense of discomfort is felt in the slow but seemingly unavoidable struggle towards the collapse of nature. The human inability to break patterns is painstakingly visible in these photographs, as we knowingly keep on extracting the ground beneath our own feet. Black Diamond is a close (self-)portrait of the people who work with extracting coal from the ground to supply the ever growing demands.


Julia Fullerton-Batten
Julia is a world-wide acclaimed and exhibited fine-art photographer. She has had portraits commissioned by the National Portrait Gallery, that are held in permanent collection. She is a winner of the HSBC Fondation pour la Photographie award and a Hasselblad Master. Her images are on the front covers of 'A Guide to Collecting Contemporary Photography' (Thames and Hudson, 2012) and Eyemazing Magazine. She is widely sought after as a judge for adjudicating at prestigious international photographic competitions and as a speaker at international events. The foundation of her success as a fine-art photographer was 'Teenage Stories' (2005), an evocative narrative of the transition of a teenage girl to womanhood. It portrays the different stages and life situations experienced by an adolescent girl as she grapples with the vulnerability of her teenage predicament – adjustments to a new body, her emotional development and changes in her social standing. Her book ‘Teenage Stories’ was published in 2007. This success was followed by other projects illuminating further stages a teenager experiences to becoming a woman - In Between (2009) and Awkward (2011). Julia freely admits to many of her scenes being autobiographical. This was even more so the case with her next project, Mothers and Daughters (2012). Here she based the project on her own experiences in her relationship with her mother, and the effects of her parents’ divorce. Unrequited love – A Testament to Love (2013) – completes Julia’s involvement with the female psyche, illustrating poignantly the struggles experienced by a woman when love goes wrong. Again there is no happy end, the woman is left with the despair of loneliness, loss and resignation. More recently, Julia has shot a series of projects where she has engaged with social issues. Unadorned (2012) takes on the issue of the modern Western society’s over-emphasis on the perfect figure, both female and male. For this project she sourced overweight models and asked them to pose in the nude in front of her camera against a backdrop similar to that of an Old Master’s painting, when voluptuousness was more accepted than it is now. ‘Blind (2013)’ confronts the viewer with a series of sympathetic images and interviews with blind people, some blind from birth, others following illness or an accident. Sight being one of mankind’s essential senses and her career being absolutely dependent on it, Julia hoped to find answers to her own personal situation if she were ever to become blind. Her most recent project, In Service (2014), exposes some of the goings-on behind the walls of the homes of the wealthy during the Edwardian era in the UK (1901 – 1911). Millions of poorer members of society escaped poverty by becoming servants in these homes, where it was not only hard work, but they were often subjected to exploitation and abuse. Julia’s very distinctive style of fine-art photography is epitomized by her use of unusual locations, highly creative settings, street-cast models, and accented with cinematic lighting. She insinuates visual tensions into her images, and imbues them with a hint of mystery, that combine to tease the viewer to re-examine the picture continuously, each time seeing more content and finding a deeper meaning with every viewing. Major events in which she has recently participated include Fotografiska, Stockholm; Noorderlicht, International Festival of Photography, Kristiansund, Norway; Dong Gang Photo festival, Korea; Daegu Photo Biennale, Korea; Museo Thyssen-Bornemisza and Fundacion Caja, Madrid; Pompidou Center, Paris; Shanghai International Photographic Art Exhibition; Hereford Photo Festival; The Museum of Contemporary Art Shanghai (MOCA Shanghai). Guest Speaker - National Geographic Seminar in Washington DC; Fotografiska, Stockholm, and Noorderlicht, Norway.
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