All about photo.com: photo contests, photography exhibitions, galleries, photographers, books, schools and venues.
LAST CALL: Win a Solo Exhibition in June 2026 + An Exclusive Interview!
LAST CALL: Win a Solo Exhibition in June 2026 + An Exclusive Interview!
Evgenia Arbugaeva
Evgenia Arbugaeva

Evgenia Arbugaeva

Country: Russia
Birth: 1985

Evgenia Arbugaeva (born 1985) is a photographer of the Russian Arctic. Having grown up in Yakutsk, she has an empathy with the people living in the far north and the difficult living conditions they experience, and several of her photographic projects have involved them. The National Geographic has funded her to photograph the people and economic changes on Russia's northern coast.

Arbugaeva was born in Tiksi, a small port town of the Sakha Republic on the Arctic Sea, near the mouth of the Lena River. As part of the Soviet Union, Tiksi supported military airfields and became the world's most northern settlement with over 5000 people. Her memories of the place include pink mountains, whiteout snowstorms in which she lost all sense of place, fields of snow colored green or gold by the surrounding light, and auroras in the endless night of winter. One of her childhood heroes was explorer Jacques Cousteau. At the age of eight, and at the fall of the Soviet Union, she and her family moved to Yakutsk, "the coldest city on earth" and a place that she found much less visually appealing. She studied management in Moscow before moving to New York City. There, she studied photography at the International Center of Photography, graduating in 2009. 19 years after moving from her hometown, Arbugaeva decided to move back to Tiksi because she could no longer remember anything from the town. These memories had faded so much to the point where they seemed unreal.

Arbugaeva's photographic method involves living with her subjects on a long enough term to become friends with them and for them to relax in front of her camera. For instance, in one of her projects she traveled with Siberian hunters for the tusks of mammoths, newly exposed by global warming. She won the trust of the hunters by stitching up the injured hand of the head of the group. She often works without a camera, scouting locations that she returns to frequently until the lighting and inspiration combine to give her a photo.

In 2010 Arbugaeva returned to Tiksi, now becoming a ghost town, on a personal visit to compare it to her memories, but left the town with only one photo she liked, of a teenage girl playing on the seashore. Inspired by the photo, she traveled back to Tiksi in 2011 to meet the girl and her family and to document their daily life, overlain with her own memories. Despite the decline of the town and the difficult life there (which drove her host family to plan their own departure), her photos in this project are "bright and whimsical, their compositions and vivid colours redolent of the books she read there as a child".

Arbugaeva learned of the weather stations of northern Russia in a dog sledding incident, when she and her father had to take shelter from bad weather at one of the stations. In her project Weather Man, she took a two-month passage on an icebreaker to 22 of the stations, including the station at Khodovarikha, where she met meteorologist Vyacheslav (Slava) Korotki. The portrait taken of Vyacheslav Korotki is an intimate story of an individualistic man, who is facing the fading winter of the Arctic. In early 2014, she returned to Khodovarikha by helicopter for a two-and-a-half-week visit and photography session with Korotki. Based on this work, a much darker series of photos than the ones from Tiksi, she published a profile of Korotki in The New Yorker.

Arbugaeva's other photography projects have included nomadic Yakut reindeer herders in Sakha, and Amani, a sequence of fictionalized images set on an abandoned anthropological research station on a former German coffee plantation in Tanzania.

Arbugaeva is the 2013 winner of Leica's Oskar Barnack Award for her work in Tiksi, for which she also received a Magnum Foundation International Emergency Fund grant in 2012. In 2018, National Geographic named her as one of their four inaugural Media Innovation Fellows, funding her to photograph the people and economic changes on Russia's northern coast.

Source: Wikipedia


 

Evgenia Arbugaeva's Video

Selected Books

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

Randall Romano
Canada
1957
Randall has been making photographs for over 45 years, initially in the nature/landscape genre, eventually evolving to run a commercial photography business focused on interior and exterior architectural clients. Since 2015, after closing the business, he focused solely on photographing subjects and projects that are of personal interest. These consist largely of street and documentary subjects. He has also been active in lecturing about photography, to a wide variety of Ontario camera groups. These presentations sought to stir up and challenge traditional notions on photography, bringing to light the work and importance of master photographers. A recent book publication: Reaching a Higher Level in Photography (2023) has come out of these presentations. I believe the camera’s strength is its ability to capture fleeting moments, to stop time and create a sense of curiosity in the viewer. If a still image is to be successful it has to illustrate something missed and something fleeting. Chasing this fleeting moment of uniqueness allows me to better saviour life. A father of four children, Randall and his wife Catherine live on a rural property near Peterborough, Ontario, Canada. Statement Photography represents much more to me than only exploring the world. It is the ability to capture a moment of time, to rip a unique page from the book of life. Photographs at their best tell a story or reveal a penetrating statement, not only through an individual picture but also through groups of photographs. The camera provides a means to document and freeze a passing juncture, perhaps capturing an important instant, a blink of vision that without the camera would be gone forever. The simple act of making a photograph encourages the photographer to stop and carefully look at the complexity of life. This uncomplicated act opens up details of the world lost to others. At its true essence, the camera is a persistent companion documenting a unique view of the world and travelling along through our life journeys. The techniques I use to capture these moments of life and narratives are not based on technological prowess, because to me the camera is only a tool to be harnessed. Photographs reflect and document the real world and are a contemplation of things as they are. Technology is only a means to capture this reality. The ultimate success of the process is the strength and validity of the final product, and the need it creates in the viewer to linger and explore. Winner AAP Magazine #30 Shadows
Peter van Agtmael
United States
1981
Peter van Agtmael (born 1981) is a documentary photographer based in New York. Since 2006 he has concentrated on the wars in Iraq and Afghanistan, and their consequences in the United States. He is a member of Magnum Photos. Van Agtmael's photo essays have been published in The New York Times Magazine, TIME Magazine, The New Yorker and The Guardian. He has published three books. His first, 2nd Tour Hope I Don't Die, was published by Photolucida as a prize for winning their Critical Mass Book Award. He received a W. Eugene Smith Grant from the W. Eugene Smith Memorial Fund to complete his second book, Disco Night Sept. 11. His third, Buzzing at the Sill, was published by Kehrer Verlag in 2016. He has twice received awards from World Press Photo, the Infinity Award for Young Photographer from the International Center of Photography and a grant from the Pulitzer Center on Crisis Reporting. Van Agtmael was born in Washington D.C. and grew up in Bethesda, Maryland. He studied history at Yale, graduating in 2003. He became a nominee member of Magnum Photos in 2008, an associate member in 2011, and a full member in 2013. After graduation he received a fellowship to live in China for a year and document the consequences of the Three Gorges Dam. He has covered HIV-positive refugees in South Africa; the Asian tsunami in 2005; humanitarian relief efforts after Hurricane Katrina's effects on New Orleans in 2005 and after the 2010 Haiti earthquake, the filming of the first season of TV series Treme on location in New Orleans in 2010; the Deepwater Horizon oil spill in 2010, Hurricane Sandy in 2012 and its aftermath, Nabi Salih and Halamish in the West Bank in 2013 and the 2014 Israel–Gaza conflict and its aftermath. Since 2006 he has concentrated on the wars in Iraq and Afghanistan, and their consequences in the United States. He first visited Iraq in 2006 at age 24 and has returned to Iraq and Afghanistan a number of times, embedded with US military troops. Later he continued to investigate the effects of those wars within the US. In 2007 his portfolio from Iraq and Afghanistan won the Monograph Award (softbound) in Photolucida's Critical Mass Book Award. As part of the prize Photolucida published his first book, 2nd Tour, Hope I Don’t Die. With work made between January 2006 and December 2008, this "is a young photojournalist’s firsthand experience: the wars’ effects on him, on the soldiers and on the countries involved." The 2012 W. Eugene Smith Grant for Humanistic Photography provided $30,000 to work on his second book, Disco Night Sept. 11, which "chronicles the lives of the soldiers he has met in the field and back home."Source: Wikipedia
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.
Joel Meyerowitz
United States
1938
Joel Meyerowitz is an award-winning photographer whose work has appeared in over 350 exhibitions in museums and galleries around the world. He was born in New York in 1938. He began photographing in 1962. He is a “street photographer” in the tradition of Henri Cartier-Bresson and Robert Frank, although he works exclusively in color. As an early advocate of color photography (mid-60s), Meyerowitz was instrumental in changing the attitude toward the use of color photography from one of resistance to nearly universal acceptance. His first book, Cape Light, is considered a classic work of color photography and has sold more than 100,000 copies during its 30-year life. He is the author of 17 other books, including the newly released book by Aperture, Legacy: The Preservation of Wilderness in New York City Parks. In 1998 he produced and directed his first film, POP, an intimate diary of a three-week road trip he made with his son, Sasha, and his father, Hy. This odyssey has as its central character an unpredictable, street-wise and witty 87-year-old with a failing memory. It is both an open-eyed look at aging and a meditation on the significance of memory. Within a few days of the 9/11 attacks on the World Trade Center in New York, Meyerowitz began to create an archive of the destruction and recovery at Ground Zero and the immediate neighborhood. The World Trade Center Archive consists of over 8,000 images, and was created with the sponsorship of the Museum of the City of New York, to whom a set of digital files was donated for their archives and for exhibition. The Archive is an historic, photographic record of the immediate aftermath of the tragedy and the neighborhood as it evolved. The U.S. Department of State mounted 35 exhibitions of this work and they were shown around the globe from their inauguration by Colin Powell in Spring 2002 until 2005. Over 4 million people have seen these shows from Jerusalem to Islamabad, Rome, Paris, London, Kuwait, Moscow, Istanbul, and 200 other cities. Meyerowitz’s photographs from the World Trade Center Archives were also on view when he represented the United States at the 8th Venice Biennale for Architecture in 2002. Meyerowitz created a traveling exhibition of 117 vintage and modern prints entitled Out of the Ordinary 1970-1980, which premiered at the Jeu de paume in Paris, France. It has been exhibited at the Museum der Modern in Salzburg, Austria, and the Nederlands Fotomuseum in Rotterdam, the Netherlands, the Musee de la Photographie in Charleroi, Belgium and the Thessaloniki Museum of Photography in Thessaloniki, Greece Meyerowitz completed the ambitious project of documenting and creating an archive of New York City’s 29,000 acres of parkland. It is the first long-term visual documentation of NYC parks since the 1930’s when they were photographed as part of Franklin Roosevelt’s WPA program. Adrian Benepe, Commissioner of Parks and Recreation, has invited Meyerowitz to produce a comprehensive database for future use by the Parks department and to share these images of the parks with communities in all 5 boroughs. Legacy: The Preservation of Wilderness in New York City Parks was published by Aperture in the fall of 2009, accompanied by a large-scale exhibition of the same name at the Museum of the City of New York. Meyerowitz is a two-time Guggenheim fellow, a recipient of both the NEA and NEH awards, as well as a recipient of the Deutscher Fotobuchpreis. His work is in the collection of the Museum of Modern Art, the Boston Museum of Fine Arts and many others. Source: Wikipedia
Milton Rogovin
United States
1909 | † 2011
Milton Rogovin was born in New York City in 1909. He graduated from Columbia University in 1931 with a degree in optometry and a deep concern for the rights of the worker. He moved to Buffalo, New York, in 1938, where he established his own optometric practice in 1939. In 1942, he married Anne Snetsky. That same year, he purchased his first camera, and was inducted into the U.S. Army, where he served in England as an optometrist until 1945. Upon his discharge, he returned to his optometric practice and his growing family. By 1947, the Rogovin's had two daughters, Ellen and Paula, and a son, Mark.Source: www.miltonrogovin.com Milton Rogovin (1909–2011) was a documentary photographer who has been compared to great social documentary photographers of the 19th and 20th centuries, such as Lewis Hine and Jacob Riis. His photographs are in the Library of Congress, the J. Paul Getty Museum, the Center for Creative Photography and other distinguished institutions. Milton Rogovin was born December 30, 1909 in Brooklyn, New York City of ethnic Jewish parents who emigrated to America from Lithuania, then part of the Russian empire. He attended Stuyvesant High School in New York City and enrolled in Columbia University, from which he graduated in 1931 with a degree in optometry. Following graduation Rogovin worked as an optometrist in New York City. Distressed by the rampant and worsening poverty resulting from the Great Depression, Rogovin began attending night classes at the New York Workers School, a radical educational institution sponsored by the Communist Party USA. In 1938 Rogovin moved to Buffalo and established an optometry practice there. In 1942, he married Anne Snetsky (later changed to Setters). In the same year, he was inducted into the U.S.Army, where he worked as an optometrist. After his discharge from the Army, Milton and Anne had three children: two daughters (Ellen and Paula) and a son (Mark). Rogovin was called before the House Un-American Activities Committee in 1957. Like many other Americans who embraced Communism as a model for improving the quality of life for the working class, he became a subject of the Committee's attentions in the postwar period: He was discredited — without having been convicted of any offense — as someone whose views henceforth had to be discounted as dangerous and irresponsible. The incident inspired Rogovin to turn to photography as a means of expression; it was a way to continue to speak to the worth and dignity of people who make their livings under modest or difficult circumstances, often in physically taxing occupations that usually receive little attention. In 1958, a collaboration with William Tallmadge, a professor of music, to document music at storefront churches set Rogovin on his photographic path. Some of the photographs that Rogovin made in the churches were published in 1962 in Aperture magazine, edited by Minor White, with an introduction by W.E.B. Du Bois, a founder of the National Association for the Advancement of Colored People (NAACP). That same year Rogovin began to photograph coal miners, a project that took him to France, Scotland, Spain, China, and Mexico. Many of these images were published in his first book, The Forgotten Ones. Rogovin traveled throughout the world, taking numerous portraits of workers and their families in many countries. His most acclaimed project, though, has been The Forgotten Ones, sequential portraits taken over three decades of over a hundred families who resided on Buffalo’s impoverished Lower West Side. The project was begun in 1972 and completed in 2002. In 1999, the Library of Congress collected more than a thousand of Rogovin’s prints.Source: Wikipedia
Liz Obert
United States
Liz Obert is a lens-based artist based in the Pacific Northwest. Her current work is a reflection on mortality and the human condition, along with our culture’s obsession with materialism. It expresses the transience of our existence through our shared experiences with food through imagery inspired by Dutch’s paintings. She has a BFA from the College of Santa Fe and an MFA from Washington State University. Her work has been exhibited nationally and internationally, with showcases in Spain, France, and Hungary. Her work has been published in outlets including The Missouri Review, Slate, The Huffington Post, and others. Modern Vanitas In my series Modern Vanitas, I draw upon the paintings of 17th-century artists in the Netherlands who created still-lifes often referred to as Vanitas. These compositions contained what appeared to be random objects of their time, such as candles, silver platters, and exotic foods. However, the items were a symbolic representation of the futility of life’s pleasures, creating moral lessons for the soul. Many contain representations of death or specifically, the human skull, making them memento mori, illustrating that all of us are mortal. I am inspired by these paintings because their message of consumerism is even more relevant today. Mass consumption is no longer just about morality; it also has concrete consequences. Globalization of trade, industrial farming, and the mass production of cheap plastic have all contributed to global warming. I see my photographs as memento mori for the planet, I draw inspiration from their baroque lighting and use of chiaroscuro. In my images, I often recreate their use of diagonal lines, cluttered compositions, and dramatic light, but I populate the photos with meticulously chosen items, such as fast food representing our mass consumption, fruit illustrating our reliance on transporting food, and candles and dying flowers showing that time is running out. Although these images have an element of humor by elevating the mundane, such as Starbucks and Burger King, the message is serious. I intend for both the humor and the rich lighting to draw in the viewer and I hope that they will understand the deeper meaning. Article American Bodegónes
Jaromír Funke
Czech Republic
1896 | † 1945
Jaromír Funke (1896–1945) was a Modernist photographer and a leading figure in Czech photography during the 1920s and 30s. He was born in Skute? to a wealthy family. He studied medicine, law, and philosophy at the Charles University in Prague and the University of Bratislava but did not graduate and instead turned to photography. Funke was recognized for his play of “photographic games” with mirrors, lights, and insignificant objects, such as plates, bottles, or glasses, to create unique works. His still life’s created abstract forms and played with shadows looking similar to photograms. His work was thought to be logical, original and expressive in nature. A typical feature of Funke’s work would be the "dynamic diagonal." By the 1920s, Funke had become an amateur photographer and began to experiment with constructivism, surrealism, poeticism, and expressionism. He created unconventional works as a form of “pure” photography instead of the traditional reminiscing of other mediums such as painting or sculpture. During his photography profession, Funke published editorials and critiques about photography. By 1922, Funke had become a skilled freelance photographer and two years later he, Josef Sudek and Adolf Schneeberger created the Czech Photographic Society. From 1931-1935, Funke headed the photography department at the School of Arts and Crafts in Bratislava. Soon after, Funke taught at the School of Graphic Art in Prague until 1944. Alongside Ladislav Sutha, the director of the previous school, Funke published Fotografie vidí povrch in 1935. While travelling, Funke became interested in politically engaged photography. Bad living was created during the time period of 1930-1931 and was a photographic series that dealt with the issues of poverty. Funke later became an editor of the journal Fotografický obzor (Photographic Horizons) for several years. He published a number of works including Od fotogrameuk emoci which is understood to be his manifesto. As travelling was limited during World War 2 in 1939, Funke photographed close to home in Louny, Prague and sometimes Kolin. On March 22, 1945 in Kolin, Funke required an immediate operation for intestine damage but the procedure could not be executed as it was during an air raid alarm and he died.Source: Wikipedia Jaromír Funke (1896–1945) studied medicine, law and philosophy at Charles University in Prague but did not graduate. Instead he concentrated on becoming a professional freelance photographer. By 1922 he was a leader of the young opposition movement in photography and a founder of the Czech Society of Photography (1924) whose mission was to create photography that would fulfil new social functions. In his work Funke managed to combine some of the leading trends in modernist European photography, uniting constructivism and functionalism with surrealism and social commentary, with traditional Czech aesthetics. His interest in modernist ideas led him to make clearly focused studies of simple objects. As the decade progressed, he turned to the production of carefully arranged still lifes emphasizing abstract form and the play of light and shadow. During this time he also produced several important series of photographs, including two inspired by the images of Eugène Atget: Reflexy (Reflections, 1929) and as trvá (Time Persists, 1930-34). Funke was also influential as a teacher, first at the School of Arts and Crafts, Bratislava (1931-34/35), which followed a Bauhaus-inspired curriculum, and then at the State School of Graphic Arts, Prague (1935-44). While in Bratislava, he became interested in social documentary photography and joined the leftist group Sociofoto, which was concerned with recording the living conditions of the poor. Throughout his career Funke published articles and critical reviews dealing with photography. From 1939-41 he worked with Josef Ehm to edit the magazine Fotografik obzor (Photographic Horizon).Source: Howard Greenberg Gallery
Arthur Elgort
United States
1940
Arthur Elgort (born June 8, 1940) is an American fashion photographer best known for his work with Vogue magazine. Elgort was born in Brooklyn, to Sophie (née Didimamoff) and Harry Elgort (April 10, 1908 – October 23, 1998), a restaurant owner. He is of Russian-Jewish heritage. Raised in New York City, he attended Stuyvesant High School and Hunter College, where he studied painting. He lives in New York City with his wife, Grethe Barrett Holby, who is a producer, stage director, choreographer, and dramaturge, and three children, including actor and singer Ansel Elgort. Elgort began his career working as a photo assistant to Gosta "Gus" Peterson. Elgort's 1971 debut in British Vogue created a sensation in the Fashion Photography world where his soon-to-be iconic "snapshot" style and emphasis on movement and natural light liberated the idea of fashion photography. In September 2008, he told Teen Vogue that he credited Mademoiselle for his big break: "They were really brave and gave me a chance. It was the first time I was shooting a cover instead of a half-page here or there." He worked for such magazines as International and American Vogue, Glamour, GQ, Rolling Stone, and Teen Vogue, and shooting advertising campaigns with fashion labels as Chanel, Valentino, and Yves Saint Laurent. He still works for fashion publications, as well as working on his most recent 2009 advertising campaigns with Via Spiga and Liz Claiborne with Isaac Mizrahi. His work is exhibited in the permanent collections of the International Center of Photography in New York, in the Victoria and Albert Museum in London and in the Museum of Fine Arts in Houston, Texas. In 2011, Elgort won the CFDA Board of Directors' Award.Source: Wikipedia Much like photographers Martin Munkacsi and Richard Avedon before him, Arthur Elgort found inspiration working out of the studio— both in the city streets and in natural settings such as the countryside of upstate New York. Realizing that movement, humor, and natural light are all a part of the genuine photographic experience, Elgort took his models out into the world employing improvisation as a catalyst for the creative accidents to happen. As Elgort states in the Introduction to The Big Picture, “When my career was just beginning, I noticed that most of the magazines had plenty of studio photographers – All I saw were models standing still. So I decided to do something else. I took my models out on the streets of New York, Paris, or wherever I was, and the magazines liked it. It felt different.” Some of Elgort’s most recognizable photographs— candid shots of Fashion greats Linda Evangelista, Christy Turlington, Naomi Campbell, Kate Moss, and Karlie Kloss— were taken when Elgort was not “working”, moments in between shoots, models getting ready behind the scenes, or unwinding after hours. It is Elgort’s photojournalist style of capturing these spontaneous, authentic moments that make his images so effortless, genuinely reflecting the periods he documented with an honesty allowing Elgort’s images to become more and more iconic as time passes.Source: Fahey / Klein Gallery Arthur was born in 1940 in New York City. As a teenager he attended Stuyvesant High School and then went on to study painting at Hunter College. Finding the medium too lonely, he decided to try his hand at photography and soon discovered it was a talent. Shortly thereafter he made his debut in British Vogue in 1971. With just one shoot he created not only a sensation but a permanent place in the world of fashion photography. Arthur's relaxed and easy snapshot style was a breath of fresh air in a world where staged and stiff studio shoots with mannequin-like models were the norm. Arthur encouraged his subjects to move freely in the frame. The models he chose were lively, wore less make-up, and were simply enhanced by the natural light that he favored. Taking his models outside into the “real world,” where the clothes he was being asked to photograph would be worn and put to the test, became a signature of his personal style. Arthur quickly became one of the best-known and most emulated photographers in the world. The risks that he took with his photographic style changed the idea of what a fashion photograph could be and pushed the entire industry forward. For over 50 years Arthur has been a major influence, from his Vogue covers to his luxury-brand ad campaigns, his work is an inspiration. His style and influence created infinite possibilities in the world of fashion photography which he continues to explore today from his base in New York City. Source: www.arthurelgort.com
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