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Andrea Galluzzo
Andrea Galluzzo
Andrea Galluzzo

Andrea Galluzzo

Country: United States
Birth: 1980

Andrea Galluzzo is a photographer living and working in Portland, OR. Coming from years of experience working with medium and large format cameras, she began experimenting with the digital darkroom three years ago. Her knowledge and experience with chemical printing has influenced the quality and craft of her current projects that push the boundries of the photographic medium. Her recent project, “Know Myself in all My Parts”, has been published in Black and White Magazine, and received the Ultimate Eye Foundation Grant in 2009. She has also exhibited her work in group and solo shows around the country including the Peninsula Museum of Art, Rayko Photo Gallery, and The Spiva Arts Center.
 

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More Great Photographers To Discover

Chiara Felmini
Chiara Felmini
Italy
Born in Turin in 1965, I have been a photographer since the age of 8, when I received my first camera as a gift (which I still own); since then I have never stopped looking at the world from behind a lens with an ever growing interest in travel and the environment. Animals have been part of my life, professionally and otherwise, for over 30 years and photographing them has been an absolutely natural path. Only later did my love for travel lead me to discover a passion for documentary and reportage photography. Photographer to tell stories, for an aesthetic and emotional research; the constant search for light, for color, for the moment, but above all for the interaction with the people I meet, gives me a great boost to sharing and understanding human nature and it is an activity that is now indispensable for me.
Kojo Leon
Kojo Leon
United States
1990
Kojo Leon, is a Physicist by profession and a passionate lover of both the intricate world of Physics and the captivating realm of Street Photography and Fine Arts. He perceives Street Photography as peaceful and a way of seeing the world in its rawest, most unfiltered form. It is about capturing the poetry of everyday life—the fleeting moments of connection, solitude, humor, and humanity that often go unnoticed. Kojo is drawn to the streets because they are alive with stories. Every passerby, every shadow, every reflection holds a narrative waiting to be discovered. His protect work is an exploration of light, composition, and emotion. He is challenged to be present on the streets, to observe deeply, and capture the most unfiltered and dramatic moments. Through his most recent project “Waves and Lives” that document the livelihood of fishermen in Winneba, a Coastal City in Central Ghana, he hopes to inspire others to look closer, to notice the extraordinary in the ordinary, and to appreciate the rawest moments unfolding around us every day. Awarded Photographer of the Week - Week 31, 2025
Cristina García Rodero
Cristina García Rodero
Spain
1949
Cristina García Rodero (born 14 October 1949) is a Spanish photographer and member of Magnum Photos and Agence Vu photo agencies. García Rodero was born in Puertollano, Spain, in 1949, and studied painting at Complutense University of Madrid. She has worked as a teacher. Rodero photographs the persistence of rural traditions in modern times, such as religious rites and festivals in Spain. In Spain she is among the most celebrated documentary photographers. García Rodero joined Magnum Photos in 2005 and became a full member in 2009. The city of Puertollano, where she was born, inaugurated the Cristina García Rodero Museum in 2018. A large part of the photographer's work is exhibited there. The Cristina García Rodero Museum is located in the old municipal museum of Puertollano. There are more than 2,100 square meters distributed over three floors in which are displayed about 200 photographs of the artist.Source: Wikipedia Cristina García Rodero was born in Puertollano, Spain. She studied painting at the School of Fine Arts at the University of Madrid, before taking up photography. She then qualified as a teacher and worked full-time in education. For the next 16 years, she also dedicated her time to researching and photographing popular and traditional festivities – religious and pagan – principally in Spain but also across Mediterranean Europe. This project culminated in her book España Oculta published in 1989, which won the “Book of the Year Award” at the Arles Festival of Photography. The same year, García Rodero also won the prestigious W. Eugene Smith Foundation Prize. The documentary and ethnological value of her work are considerable, but the aesthetic quality of her photography makes it more than a simple visual record. In recent years, Cristina García Rodero has traveled around the world in search of other cultures with particular traditions. Over a period of four years, she went several times to Haiti, where she has documented voodoo rituals, producing a series of expressive portraits and moving scenes flanked by engaging documentary observations. Rituals in Haiti was shown for the first time in the 2001 Venice Biennale. Cristina García Rodero has received many prizes, including the Premio Nacional de Fotografía in 1996 in Spain. Her work has been widely published and exhibited internationally. She has published several books and has been a member of the Vu agency for more than 15 years. García Rodero joined Magnum in 2005 and became a full member in 2009.Source: Magnum Photos
Nick Turpin
Nick Turpin
United Kingdom
1969
Nick Turpin is a British street photographer and advertising and design photographer. He is based in London and near Lyon, France. He studied an art and design foundation course at the University of Gloucestershire, specializing in photography; then a BA in photography, film and video at the University of Westminster. Whilst at university he showed his second-year photojournalism stories to the picture editor at The Independent and in 1990, aged 20, quit his course to be a press photographer for the newspaper. He left The Independent in 1997 for a career in advertising and design photography that would finance his street photography (for example he photographed the cover of Bridget Jones's Diary (1995) by Helen Fielding). Turpin established the first international collective of street photographers, In-Public, in 2000 with the intention of bringing together like-minded photographers to hold exhibitions, produce books, and conduct workshops. Colin Westerbeck, writing in Time in 2011, said Turpin was "notable for having been instrumental in a collaborative documentary project", namely In-Public. He left the collective in 2018. His work has been published in his own book, On The Night Bus (2016), and in various survey publications, as well as being included in a number of group exhibitions. He publishes through Nick Turpin Publishing, makes short films, and gives workshops on street photography.Source: Wikipedia Artist Statement "There is something about the making of photographs in public places that resonates with me more than any other kind of photography. I think it simply suits my personality. It’s nice, when taking pictures in the street, not to have to participate in any way in the stream of life passing you by. It makes me feel special to be there but not to be chatting, not to be shopping or not even to be heading for somewhere else. I feel like I am invisible to the passing crowds. This in turn leads to a loss of my sense of self, which is the finest feeling of all. Having worked for several years both in newspapers and advertising, I am fascinated by the things that I ‘choose’ to photograph when I leave the house with my camera but without a ‘story’ or ‘brief’ to fulfill. These ‘choices’ are revealing,in some way, of who I am. I go to the busiest, public places to discover something very personal and private. It is an inescapable truth that the resulting photographs are as much about my inner state as they are about the external world they were made in. They are all self-portraits. It is important to me that my personal pictures don’t have to ‘do’ anything. They don’t have to sell in a gallery or sit well beside the ads in a magazine. I don’t have to make pictures that are easily categorised. They are not reportage, there is no subject, they are not art, there is no great technical craft or aesthetic beauty. They are just pictures about life. For these reasons, Picture Editors, Art Directors and Curators don’t know what to do with them, where to put them. I like that." -- Nick TurpinSource: In-Public
Man Ray
Man Ray
United States
1890 | † 1976
Man Ray (born Emmanuel Radnitzky) was an American visual artist who spent most of his career in Paris. He was a significant contributor to the Dada and Surrealist movements, although his ties to each were informal. He produced major works in a variety of media but considered himself a painter above all. He was best known for his pioneering photography, and was a renowned fashion and portrait photographer. He is also noted for his work with photograms, which he called "rayographs" in reference to himself. During his career, Man Ray allowed few details of his early life or family background to be known to the public. He even refused to acknowledge that he ever had a name other than Man Ray. Man Ray's birth name was Emmanuel Radnitzky. He was born in South Philadelphia, Pennsylvania, on August 27, 1890. He was the eldest child of Russian Jewish immigrants Melach "Max" Radnitzky, a tailor, and Manya "Minnie" Radnitzky (née Lourie or Luria). He had a brother, Sam, and two sisters, Dorothy "Dora" and Essie (or Elsie), the youngest born in 1897 shortly after they settled at 372 Debevoise St. in the Williamsburg neighborhood of Brooklyn, New York. In early 1912, the Radnitzky family changed their surname to Ray. Man Ray's brother chose the surname in reaction to the ethnic discrimination and antisemitism prevalent at the time. Emmanuel, who was called "Manny" as a nickname, changed his first name to Man and gradually began to use Man Ray as his name. I photograph what I do not wish to paint and I paint what I cannot photograph. -- Man Ray Man Ray's father worked in a garment factory and ran a small tailoring business out of the family home. He enlisted his children to assist him from an early age. Man Ray's mother enjoyed designing the family's clothes and inventing patchwork items from scraps of fabric. Man Ray wished to disassociate himself from his family background, but their tailoring left an enduring mark on his art. Mannequins, flat irons, sewing machines, needles, pins, threads, swatches of fabric, and other items related to tailoring appear in almost every medium of his work. Art historians have noted similarities between Ray's collage and painting techniques and styles used for tailoring. His education at Brooklyn's Boys' High School from 1904 to 1909 provided him with solid grounding in drafting and other basic art techniques. While he attended school, he educated himself with frequent visits to the local art museums, where he studied the works of the Old Masters. After his graduation, Ray was offered a scholarship to study architecture but chose to pursue a career as an artist. Man Ray's parents were disappointed by their son's decision to pursue art, but they agreed to rearrange the family's modest living quarters so that Ray's room could be his studio. The artist remained in the family home over the next four years. During this time, he worked steadily towards becoming a professional painter. Man Ray earned money as a commercial artist and was a technical illustrator at several Manhattan companies. The surviving examples of his work from this period indicate that he attempted mostly paintings and drawings in 19th-century styles. He was already an avid admirer of contemporary avant-garde art, such as the European modernists he saw at Alfred Stieglitz's "291" gallery and works by the Ashcan School. However, with a few exceptions, he was not yet able to integrate these trends into his own work. The art classes he sporadically attended, including stints at the National Academy of Design and the Art Students League, were of little apparent benefit to him. When he enrolled in the Ferrer School in the autumn of 1912, he began a period of intense and rapid artistic development. While living in New York City, Man Ray was influenced by the avant-garde practices of European contemporary artists he was introduced to at the 1913 Armory Show and in visits to Alfred Stieglitz's "291" art gallery. His early paintings display facets of cubism. After befriending Marcel Duchamp, who was interested in showing movement in static paintings, his works began to depict movement of the figures. An example is the repetitive positions of the dancer's skirts in The Rope Dancer Accompanies Herself with Her Shadows (1916). In 1915, Man Ray had his first solo show of paintings and drawings after he had taken up residence at an art colony in Grantwood, New Jersey, across the Hudson River from New York City. His first proto-Dada object, an assemblage titled Self-Portrait, was exhibited the following year. He produced his first significant photographs in 1918, after initially picking up the camera to document his own artwork. Man Ray abandoned conventional painting to involve himself with Dada, a radical anti-art movement. He published two Dadaist periodicals, and each only had one issue, The Ridgefield Gazook (1915) and TNT (1919), the latter co-edited by Adolf Wolff and Mitchell Dawson. He started making objects and developed unique mechanical and photographic methods of making images. For the 1918 version of Rope Dancer, he combined a spray-gun technique with a pen drawing. Like Duchamp, he worked with readymade—ordinary objects that are selected and modified. His Gift readymade (1921) is a flatiron with metal tacks attached to the bottom, and Enigma of Isidore Ducasse is an unseen object (a sewing machine) wrapped in cloth and tied with cord. Aerograph (1919), another work from this period, was done with airbrush on glass. In 1920, Man Ray helped Duchamp make the Rotary Glass Plates, one of the earliest examples of kinetic art. It was composed of glass plates turned by a motor. That same year, Man Ray, Katherine Dreier, and Duchamp founded the Société Anonyme, an itinerant collection that was the first museum of modern art in the U.S. In 1941 the collection was donated to Yale University Art Gallery. Man Ray teamed up with Duchamp to publish one issue of New York Dada in 1920. For Man Ray, Dada's experimentation was no match for the wild and chaotic streets of New York. He wrote that "Dada cannot live in New York. All New York is dada, and will not tolerate a rival." In 1913, Man Ray met his first wife, the Belgian poet Adon Lacroix (Donna Lecoeur) (1887–1975), in New York. They married in 1914, separated in 1919, and formally divorced in 1937. In July 1921, Man Ray went to live and work in Paris, France. He soon settled in the Montparnasse quarter favored by many artists. His accidental rediscovery of the cameraless photogram, which he called "rayographs", resulted in mysterious images hailed by Tristan Tzara as "pure Dada creations". Shortly after arriving in Paris, he met and fell in love with Kiki de Montparnasse (Alice Prin), an artists' model and celebrated character in Paris bohemian circles. Kiki was Man Ray's companion for most of the 1920s. She became the subject of some of his most famous photographic images, and starred in his experimental films Le Retour à la Raison and L'Étoile de mer. In 1929, he began a love affair with the Surrealist photographer Lee Miller. She also was his photographic assistant and together, they reinvented the photographic technique of solarization. Miller left him in 1932. From late 1934 until August 1940, Man Ray was in a relationship with Adrienne Fidelin. She was a Guadeloupean dancer and model and she appears in many of his photographs. When Ray fled the Nazi occupation in France, Adrienne chose to stay behind to care for her family. Unlike the artist's other significant muses, until 2022, Fidelin had largely been written out of his life story. Man Ray was a pioneering photographer in Paris for two decades between the wars. Significant members of the art world, such as Pablo Picasso, Tristan Tzara, James Joyce, Gertrude Stein, Jean Cocteau, Salvador Dalí, Peggy Guggenheim, Bridget Bate Tichenor, Luisa Casati, and Antonin Artaud, posed for his camera. Man Ray's international fame as a portrait photographer is reflected in a series of photographs of Maharajah Yashwant Rao Holkar II and his wife Sanyogita Devi from their visit to Europe in 1927. In the winter of 1933, surrealist artist Méret Oppenheim, known for her fur-covered teacup, posed nude for Man Ray in a well-known series of photographs depicting her standing next to a printing press. His practice of photographing African objects in the Paris collections of Paul Guillaume and Charles Ratton and others led to several iconic photographs, including Noire et blanche. As Man Ray scholar Wendy A. Grossman has illustrated, "no one was more influential in translating the vogue for African art into a Modernist photographic aesthetic than Man Ray." Man Ray was represented in the first Surrealist exhibition with Jean Arp, Max Ernst, André Masson, Joan Miró, and Pablo Picasso at the Galerie Pierre in Paris in 1925. Important works from this time were a metronome with an eye, originally titled Object to Be Destroyed, and the Violon d'Ingres, a stunning photograph of Kiki de Montparnasse, styled after the painter/musician Ingres. Violon d'Ingres is a popular example of how Man Ray could juxtapose disparate elements in his photography to generate meaning. Man Ray directed a number of influential avant-garde short films, known as Cinéma Pur. He directed Le Retour à la Raison (2 mins, 1923); Emak-Bakia (16 mins, 1926); L'Étoile de Mer (15 mins, 1928); and Les Mystères du Château de Dé (27 mins, 1929). Man Ray also assisted Marcel Duchamp with the cinematography of his film Anemic Cinema (1926), and Ray personally manned the camera on Fernand Léger's Ballet Mécanique (1924). In René Clair's film Entr'acte (1924), Man Ray appeared in a brief scene playing chess with Duchamp. Duchamp, Man Ray, and Francis Picabia were all friends and collaborators, connected by their experimental, entertaining, and innovative art. The Second World War forced Man Ray to return from Paris to the United States. He lived in Los Angeles from 1940 to 1951 where he focused his creative energy on painting. A few days after arriving in Los Angeles, he met Juliet Browner, a first-generation American of Romanian-Jewish lineage. She was a trained dancer who studied dance with Martha Graham, and an experienced artists' model. They married in 1946 in a double wedding with their friends Max Ernst and Dorothea Tanning. In 1948 Ray had a solo exhibition at the Copley Galleries in Beverly Hills, which brought together a wide array of work and featured his newly painted canvases of the Shakespearean Equations series. Man Ray returned to Paris in 1951, and settled with Juliet into a studio at 2 bis rue Férou near the Luxembourg Gardens in St. Germain-des-Prés, where he continued his creative practice across mediums. During the last quarter century of his life, he returned to a number of his iconic earlier works, recreating them in new form. He also directed the production of limited-edition replicas of several of his objects, working first with Marcel Zerbib and later Arturo Schwarz. In 1963, he published his autobiography, Self-Portrait (republished in 1999). Ray continued to work on new paintings, photographs, collages and art objects till his death. Retrieved August 19, 2022. He died in Paris on November 18, 1976, from a lung infection. He was interred in the Cimetière du Montparnasse in Paris. His epitaph reads "Unconcerned, but not indifferent". When Juliet died in 1991, she was interred in the same tomb. Her epitaph reads "Together again". Juliet organized a trust for Ray's work and donated much of his work to museums. Her plans to restore the studio as a public museum proved too expensive; such was the structure's disrepair. Most of the contents were stored at the Centre Pompidou.Source: Wikipedia Speaking of nudes, I have always had a great fondness for this subject, both in my paintings and in my photos, and I must admit, not for purely artistic reasons. -- Man Ray “I have finally freed myself from the sticky medium of paint, and am working directly with light itself.” So enthused Man Ray in 1922, shortly after his first experiments with camera-less photography. He remains well known for these images, commonly called photograms but which he dubbed "rayographs" in a punning combination of his own name and the word “photograph.” Man Ray’s artistic beginnings came some years earlier, in the Dada movement. Shaped by the trauma of World War I and the emergence of a modern media culture—epitomized by advancements in communication technologies like radio and cinema—Dada artists shared a profound disillusionment with traditional modes of art making and often turned instead to experimentations with chance and spontaneity. In The Rope Dancer Accompanies Herself with Her Shadows, Man Ray based the large, color-block composition on the random arrangement of scraps of colored paper scattered on the floor. The painting evinces a number of interests that the artist would carry into his photographic work: negative space and shadows; the partial surrender of compositional decisions to accident; and, in its precise, hard-edged application of unmodulated color, the removal of traces of the artist’s hand. In 1922, six months after he arrived in Paris from New York, Man Ray made his first rayographs. To make them, he placed objects, materials, and sometimes parts of his own or a model's body onto a sheet of photosensitized paper and exposed them to light, creating negative images. This process was not new—camera-less photographic images had been produced since the 1830s—and his experimentation with it roughly coincided with similar trials by Lázló Moholy-Nagy. But in his photograms, Man Ray embraced the possibilities for irrational combinations and chance arrangements of objects, emphasizing the abstraction of images made in this way. He published a selection of these rayographs—including one centered around a comb, another containing a spiral of cut paper, and a third with an architect’s French curve template on its side—in a portfolio titled Champs délicieux in December 1922, with an introduction written by the Dada leader Tristan Tzara. In 1923, with his film Le Retour à la raison (Return to Reason), he extended the rayograph technique to moving images. Around the same time, Man Ray’s experiments with photography carried him to the center of the emergent Surrealist movement in Paris. Led by André Breton, Surrealism sought to reveal the uncanny coursing beneath familiar appearances in daily life. Man Ray proved well suited to this in works like Anatomies, in which, through framing and angled light, he transformed a woman’s neck into an unfamiliar, phallic form. He contributed photographs to the three major Surrealist journals throughout the 1920s and 1930s, and also constructed Surrealist objects like Gift, in which he altered a domestic tool (an iron) into an instrument of potential violence, and Indestructible Object (or Object to Be Destroyed), a metronome with a photograph of an eye affixed to its swinging arm, which was destroyed and remade several times.Source: The Museum of Modern Art
Wenxin Zhang
Wenxin Zhang
China
1989
Wenxin Zhang lives and works in San Francisco. She received her MFA at California College of the Arts. Zhang creates non-linear photographic novels. In her writings and photography, she describes her experiences of growing up in China, her current life in San Francisco, and her personal relationships. Zhang's work has exhibited widely in United States and China. Zhang was selected as a finalist in 2014 Three Shadows Photography Award, Leica Oskar Barnack Newcomer Award, and Photographic Museum of Humanity New Generation Award. Also, Zhang was selected as an artist in residence by Rayko Photo Center and The Center for Photography at Woodstock. Zhang's first monograph will be published in early 2015 by Jiazazhi Press. Statement: "Five Nights, Aquarium is a non-linear narration weaved by photographs and five short written works. I try to reconstruct my inner journey from trips I’ve made between my home country China and San Francisco during these two years in a truthful way, but the overloaded feelings of estrangement and desolation created by the journey have transformed my memories into illusions of confinement. Due to this confinement, my journey story became a space-time, which resembles an aquarium. In this aquarium, cityscapes are fish tank decorations, people are fish, and writings are tank labels. I chose five nights in the whole reconstructed journey story, using five semi-fictional short stories as clue, to portray the imaginary aquarium. The stories are cold yet intimate, sensual yet intangible. The narration of journey moves from real to imagined spaces, exploring the boundaries between autobiography and fiction."
Niki Feijen
Niki Feijen
Netherlands
1977
Dutch photographer Niki Feijen immortilizes an astonishingly intact glimpse into the past. This autodidact specializes in documenting and capturing historic architecture and abandoned buildings. Each photo fuses together the conflicting notions of beauty and decay and corresponds with his desire to capture and silently communicate with his audience about the subject's very essence. Niki wants to recreate the exact same scene as he sees while standing in a location but the lightspectrum your eye can capture is much, much wider than a camera can capture. Photographing a dark setting with extreme highlights like a window causes the highlights to wash out into white or dark areas can become obscure black blobs. It's impossible to shoot a photo that captures both ends of this spectrum. Since Niki does not use any artificial lighting he uses different exposures to capture a much wider light spectrum than a traditional photograph. The result is a hyper realistic photo which would replicate the exact same thing you would see standing inside the location yourself. In 2010 Feijen visited the quintessential location of desertion: the Chernobyl Exclusion Zone. After a catastrophic nuclear accident occurred in 1986 the entire city of Pripyat, all 50,000 inhabitants, were evacuated within 48 hours. Most of the belongings of the evacuated inhabitants were left behind and never returned to again. The incredible deafening silence of this location, in its absence of the living, permeates the senses and mind of visitors who venture to there to this day. Feijen is currently travelling around the globe looking for more hidden gems tucked away behind 'Do Not Enter' signs. Curious about what lies on the other side, he goes in search of the hidden world that is often in plain sight. When Feijen comes across impressive yet eerie locations, such as homes located in ghost towns, asylums, decaying hospitals, abandoned castles and long forgotten hotels, he intends to preserve the what is left of the past by encapsulating these forgotten masterpieces' ethos in a photo before they crumble and collapse. The impressions left from these places are represented in visual form for the public in three separate books. All works, 'Disciple of Decay' (April 2013) 'Frozen' (September 2014) and 'Tempus Fugit' (December 2017), have been independently published. The first sold out in six months. On top of these publications, Feijen's photographs are exhibited at art galleries and international art fairs several times a year. His works have been featured by NBC, BBC, The Huffington Post, ABC News, The Daily Mail and Chase Jarvis, among a variety of others. As of 2014 Feijen's work is part of the Sir Elton John Photography Collection where his name is among legendary photographers as ; Edward Weston, David LaChapelle, Diane Arbus and Henri Cartier-Bresson.
Chin Leong Teo
Chin Leong Teo
Singapore
1978
Chin Leong Teo is a Singapore citizen and an aviation professional. He pursued his college education in New York and California and spent a part of his working life resident in Jakarta, Shanghai, and Dammam (Saudi Arabia). The significant time he spent away from Singapore gave him a global perspective and the globetrotting desire to see the world. Currently he is residing in Fukuoka, Japan, where he holds the position of Chief Traffic Development Officer at Fukuoka Airport, the fourth largest airport by passenger traffic volume in Japan. Photography is Chin Leong's hobby and passion. He is interested in all photography genres, including street, travel, landscape, and nature photography. He is internationally published, and has been awarded some of the top accolades in the photography industry. These include being listed in the Photographic Society of America (PSA) 2018 Who's Who List as one of the world's top exhibitors, winning the prestigious Pangea Prize at Siena Awards 2019, and winning the inaugural ROAM Award for photography in the Discovery Category in 2019. In 2020, he won a Merit Award in All About Photos 2020 Awards, and a Honourable Mention Medal at the 80th International Photographic Salon of Japan. Chin Leong's photography philosophy is to capture "all things beautiful God created" and to continue to grow and evolve his photographic sense and acumen.
Giuliano Ottaviani
Giuliano Ottaviani
Italy
Born and raised in Rome, Giuliano is a Lifestyle photographer living and working in Paris, mostly active in the hospitality Industry. When he’s not shooting something for himself or his clients, you will probably find him strolling inside a forest, enjoying adventurous plots in a Movie Theatre with his wife, getting his hands dirty (in the kitchen) or taking care of his beloved Bonsais. At the moment, he is working on two main subjects: a photographic mapping of primary rainforests, which he started in 2017 during a discovery trip to the island of Haida Gwaii in British Columbia, and a photographic series illustrating several arts and crafts.
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American photographer Ghawam Kouchaki brings a sharply observant and introspective gaze to the streets of Japan’s capital. Based in Los Angeles, he approaches Tokyo with the distance — and curiosity — of an outsider, allowing him to uncover the city’s subtle contradictions, quiet tensions, and fleeting gestures that often go unnoticed. His series Tokyo no no, selected as the Solo Exhibition for December 2024, explores the hidden undercurrents of urban life: the unspoken rules, the small ruptures in routine, the poetic strangeness found in everyday moments. Through muted tones, instinctive timing, and meticulous framing, Kouchaki reveals a Tokyo that exists somewhere between reality and imagination — both intimate and enigmatic. We asked him a few questions about his life and work.
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Exclusive Interview with Tommi Viitala
Interview
Exclusive Interview with Tommi Viitala
Tommi Viitala, winner of AAP Magazine #44: Street, is a Finnish photographer celebrated for his striking and cinematic street photography. With a keen eye for atmosphere and composition, he captures fleeting urban moments that reveal the poetry of everyday life. His work often explores the tension between solitude and connection within contemporary cityscapes, blending documentary realism with artistic sensibility. Viitala’s photographs have been exhibited internationally and recognized for their strong visual storytelling and emotional depth. We asked him a few questions about his life and work.
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Exclusive Interview with Robert Mack
Interview
Exclusive Interview with Robert Mack
Robert Mack is a California-based visual artist, photographer, and filmmaker. His fine art photography and films have been exhibited widely in the United States and Europe, with major shows at the Baltimore Museum of Art and the Reiss-Engelhorn Museum in Mannheim, Germany. Both institutions hold his work in their permanent collections. Working across different media, Mack has built a career exploring the complexities of human presence and representation. In 1981, while living in Baltimore, he produced The Perkins Project: Not Guilty by Reason of Insanity, a rare photographic and film study inside Maryland’s hospital for the criminally insane. These stark yet compassionate black-and-white portraits remain one of his most powerful and controversial bodies of work.
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All About Photo Awards 2026
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© Fernando Morales Roca
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