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Ayumi Tanaka
Ayumi Tanaka
Ayumi Tanaka

Ayumi Tanaka

Country: Japan

Ayumi Tanaka is a Japanese-born artist, living and working in New York City. Tanaka has been working on photography project by using found images from private snapshot and the Internet to explore theme of memories. She received a BFA from Osaka University of Arts in Japan in 2003 and studied at International Center of Photography in 2010.

Her work has been shown internationally at exhibitions including United Photo Industries Gallery in New York, Tokyo Institute of Photography in Tokyo Japan, 25 CPW Gallery in New York, Pictura Gallery, Dumbo Arts Festival 2011, LOOK3 festival of the Photographs 2012 and Athens Photo Festival 2015. Tanaka's work recently included in "Universal Nature Rediscovery of Kalevala" at Sezon Arts Gallery in Tokyo (supported by Embassy of Finland and Finish Institute of Japan and Kalevala Institute) and "Photography Now 2017" at The Center for Photography at Woodstock selected by William Ewing. Her work has been published numerous magazine including at New York Times, Blow Photo, PHat Photo, Lettre International, LensCulture, GUP Magazine, Feature Shoot and Juxtapose Magazine. Tanaka has been received International Center of Photography Director Fellowship in 2010, Grand prix at Tokyo International Photography Competition 2013 (Tokyo, New York), Photolucida Critical Mass Top 50, Feature Shoot Emerging Photography Award 2014, PDN's 30 New and Emerging Photographer to watch 2016 and New York Art Foundation Fellowship 2016.

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Anna Biret
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More Great Photographers To Discover

Martin Munkácsi
Martin Munkácsi
Hungary
1896 | † 1963
Martin Munkácsi (born Mermelstein Márton; Kolozsvár, Hungary, May 18, 1896; died July 13, 1963, New York, NY) was a Hungarian photographer who worked in Germany (1928–34) and the United States, where he was based in New York City. Munkácsi was a newspaper writer and photographer in Hungary, specializing in sports. At the time, sports action photography could only be done in bright light outdoors. Munkácsi's innovation was to make sports photographs as meticulously composed action photographs, which required both artistic and technical skill. Munkácsi's legendary big break was to happen upon a fatal brawl, which he photographed. Those photos affected the outcome of the trial of the accused killer, and gave Munkácsi considerable notoriety. That notoriety helped him get a job in Berlin in 1928, for the Berliner Illustrirte Zeitung, where his first published photo was a race car splashing its way through a puddle. He also worked for the fashion magazine Die Dame. More than just sports and fashion, he photographed Berliners, rich and poor, in all their activities. He traveled to Turkey, Sicily, Egypt, London, New York, and famously Liberia, for photo spreads in the Berliner Illustrirte Zeitung. The speed of the modern age and the excitement of new photographic viewpoints enthralled him, especially flying. There are aerial photographs; there are air-to-air photographs of a flying school for women; there are photographs from a Zeppelin, including the ones on his trip to Brazil, where he crosses over a boat whose passengers wave to the airship above. On March 21, 1933, he photographed the fateful Day of Potsdam, when the aged President Paul von Hindenburg handed Germany over to Adolf Hitler. On assignment for the Berliner Illustrirte Zeitung, he photographed Hitler's inner circle, although he was a Jewish foreigner. In 1934, the Nazis nationalized the Berliner Illustrirte Zeitung, fired its Jewish editor-in-chief, Kurt Korff, and replaced its innovative photography with pictures of German troops. Munkácsi left for New York, where he signed on, for a substantial $100,000, with Harper's Bazaar, a top fashion magazine. In a change from usual practice, he often left the studio to shoot outdoors, on the beach, on farms and fields, at an airport. He produced one of the first articles in a popular magazine to be illustrated with nude photographs. His portraits include Katharine Hepburn, Leslie Howard, Jean Harlow, Joan Crawford, Jane Russell, Louis Armstrong, and the definitive dance photograph of Fred Astaire. Munkácsi died in poverty and controversy. Several universities and museums declined to accept his archives, and they were scattered around the world. Berlin's Ullstein Archives and Hamburg's F. C. Gundlach collection are home to two of the largest collections of Munkácsi's work.Source: Wikipedia
Petros Kotzabasis
Petros Kotzabasis
Greece
Petros Kotzabasis was born in Komotini, a small town in north of Greece, where he has chosen to live. He has teaching photo, to the cultural club of students of Democritos University of Thrace, since 2007.The procedure of taking pictures has an affect on him, similar to psychoanalysis, as he says, he feels as if he is the one and only viewer of an act that takes place daily and his camera is the diary that captures, in this moving reality which surrounds us, pictures that only last for split seconds. Lines and shapes formed and get lost instantly, changing every minute and in this constant alteration and movement he works by isolating several instant expressions of real through this lens. A photo is a creation of the reality, in which there are not the spots of the world that he does not want to include in his picture. It' s the total of the thinks that the photographer has lived, others that he has read, listen or he has imagined. The power of an artist is his knowledge that, by using something real simple, such as a different composition of colours, or the change of the contrast, or the standing of a head, or the shoot from a lower angle, makes the difference between the indifferent and the genius. His pictures are spontaneous and quite personal. There are no special events in them, he searches for magic in common people of the street, his neighbors, passers-by. He believes that the everyday routine of the object is what leaves plenty of space for elements to create the "art" of photography. He takes photographs of "everyday life" on a daily basis, urged by a habit he used to have when he was little. As he describes: "Every day I used to stand on our doorstep with my grandmother and observe the street and the passers-by for hours, making up stories between us. Without exchanging a single word, we had absolute communication. That habit, as I was growing up, directed me to photography." With a canon 5D and a 35 mm lens he tries to create a photograph which possesses elements of poetry, he would call it 'visual poetry', thus intending to communicate with the viewers as he used to do with his grandmother, without explanations and messages, permitting them total freedom. His starting point is the phrase by Odysseas Elytis, the great Greek poet that says: "with lime twigs you may capture birds, yet you never capture their singing. It takes a different kind of twig...." This very singing is what he tries to capture with his photographs.All about Petros Kotzabasis:AAP: When did you realize you wanted to be a photographer?It’s rather hard to answer such a question as I still haven’t realized that I am a photographer. What I am doing is actually due to an urge to create and express myself. Here in Greece, you see, you are deemed a photographer if you are professionally involved with wedding photography or photojournalism.AAP: Where did you study photography?I haven’t actually studied photography; I am self-taught. I have come upon everything by looking up in books.AAP:Do you have a mentor?Strange though it may sound, I could regard as my “mentor” the distinguished Greek poet, Odysseas Elytis, Fernando Pessoa or Marcel Proust, as they help me find my way whenever I reach a deadlock.AAP: How long have you been a photographer?I became involved with photography in 1985 but in 1994 I reached a stalemate and for almost a decade I stopped photographing. I didn’t shoot a single photo. I couldn’t even lay my hands on the camera; not even on holidays when a tourist asked me to take a photo. Then a certain incident urged me to take it up again in 2004 and since then I keep on photographing on a daily basis. I have never seen the photos of that first phase and I dumped the films in the basement of the house I used to live at that time.AAP: Do you remember your first shot? What was it?It’s been quite a while and I can’t remember my first shot. Instead, I could recount the story of a photo of mine, which may be indicative of the way I act. A few years ago, I set off for a traditional fete that takes place on the mountains, almost a two-hour drive from home. I set off equipped with several memory cards with a view to taking loads of photos during the 3 days the fete lasted. As soon as I reached my destination and opened the car door, I saw the frame that was created , took the picture and felt such a fulfillment that I realized there was no point in taking any more photos; so I instantly closed the door and returned with that one single photo.AAP: What or who inspires you?Literature and poetry have always been a source of inspiration for me.AAP: How could you describe your style?I would characterize what I am trying to do as visual poetry. In my photos there are no extraordinary events; I seek magic in the ordinary people on the street, in my neighbors, in passers-by. I seek the moment when narration is no longer needed with the aim of creating a new universe where all will be evident yet something will be left unrevealed, not with symbols but with hints. Starting point for me has been a quote by Odysseas Elytis “with lime twigs you may capture birds; yet you will never capture their singing…”AAP: What kind of gear do you use? Camera, lens, digital, film?The gear that I use is rather simple; a digital camera-Canon 5D- and a 35mm/f1,4 lens. I am against using several kinds of gear that may give you more opportunities; I like putting limitations and making particular choices, as they render you less “garrulous” and more conscious.AAP: Do you spend a lot of time editing your images?Once I take a picture, I don’t spend so much time on it. At the end of the day I have a look at what I’ve shot and in very few minutes I sort out the one or ones that I am interested in. I always show the selected lot to a specific person who is not in any way involved with photography or any other form of art, but who I trust otherwise, and once I get their opinion, I make my final choice. Because I browse through the photos very quickly every evening, I feel that in my hard disks there may be photos I have never noticed and I have always had the urge to have another look at them but I never did.AAP: Favorite(s) photographer(s)?A lot of photographers are my favorite. The first one I had ever studied and really made an impression on me was Koudelka, then I “met” and fell in love with Kertész and Bresson. Also, Robert Frank , Plossu , my compatriot, Economopoulos and many others.AAP: What advice would you give a young photographer?The most important thing for someone who is about to take up photography is to gain a deep insight into themselves; it’s this process of personal development and cultivation that will enable them to express themselves through photography and take photos that will be the real them and provoke the interest of others.AAP: What mistake should a young photographer avoid?When one sets out on this photographic trip, they browse through the internet and magazines and try to shoot at some point what they have seen. I consider this a great mistake since they are drifted away in an attempt to imitate and they are caught in a deadlock.AAP: An idea, a sentence, a project you would like to share?Since my intention is not to depict something specific or recount an event through my pictures, I couldn’t claim that I am currently working on some kind of project and once this is over, I’ll start with another one. The point is to decode what’s inside me and this “project” will be over once I am over with photography or once I am no longer alive.AAP: Your best memory has a photographer?What I find important, is that some say or write that one of my photos triggered a burst of emotion in them. I find this the most significant gift photography could grant me. AAP: Your worst souvenir has a photographer?Since I mainly photograph on the streets, the police have arrested me twice as a suspect. I believe these are my worst experiences as a photographer. AAP: If you could have taken the photographs of someone else who would it be?As I mentioned before, I love and admire the work of many photographers; thus, it would be impossible for me to pick one.
Carol Beckwith
Carol Beckwith
United States
Thirty years of work on the African continent have carried Carol Beckwith and Angela Fisher across 270,000 miles and through remote corners of 40 countries in exploration of more than 150 African cultures. In the process, this team of world-renowned photographers has produced fourteen widely acclaimed books and made four films about traditional Africa. They have been granted unprecedented access to African tribal rites and rituals and continue to be honored worldwide for their powerful photographs documenting the traditional ceremonies of cultures thousands of years old. As an intrepid team of explorers, they are committed to preserving sacred tribal ceremonies and African cultural traditions all too vulnerable to the trends of modernity. The Beckwith-Fisher images are the result of a long, enduring and deeply respectful relationship with African tribal peoples. This, combined with their photographic skills, creates an intimate portrayal of ceremonies long held secret that might have never been recorded. Their work preserves and presents the power, complexity and celebration found within the rituals of African tribal life. Their extraordinary photographs are recorded in fourteen best-selling books and in their films. Their new book “Painted Bodies” (2012) follows “Maasai” (1980), “Nomads of Niger” (1983), “Africa Adorned” (1984), “African Ark” (1990), “African Ceremonies” (1999), “Passages” (2000), “Faces of Africa” (2004), “Lamu: Kenya’s Enchanted Island” (2009), and “Dinka” (2010). The special limited-edition books, hand printed in Santiago, Chile, are titled “Surma,” “Karo,” “Maasai,” and “Dinka.” “African Ceremonies,” their defining body of work, is a double volume, pan-African study of rituals and rites of passage from birth to death, covering 93 ceremonies from 26 countries. This book won the United Nations Award for Excellence for “vision and understanding of the role of cultural traditions in the pursuit of world peace.” Honored twice with the Annisfield-Wolf Book Award in race relations for “outstanding contributions to the understanding of cultural diversity and prejudice,” Angela and Carol are also winners of the Royal Geographical Society of London’s Cherry Kearton Medal for their contribution to the photographic recording of African ethnography and ritual. The photographers have made four films about traditional Africa, including Way of the Wodaabe (1986), The Painter and the Fighter, and two programs for the Millennium Series Tribal Wisdom and the Modern World. Numerous exhibitions of their photography and films have been shown in museums and galleries around the world. In 2000 their Passages exhibition opened at the Brooklyn Museum of Art featuring 97 mural photographs, six video films and a selection of African masks, sculpture and jewelry. This exhibition has traveled to seven museums on three continents. Aware that traditional cultures in Africa are fast disappearing, Carol and Angela are working with an urgency to complete the third volume of their ongoing study of African Ceremonies with the goal of covering the remaining traditional ceremonies in the 13 African cultures in which they have not yet worked.Source: carolbeckwith-angelafisher.com
Dorrie Mcveigh
Dorrie Mcveigh
United States/United Kingdom
1975
"I am a British fashion, portrait and art photographer, born in New York into a family of artists, my family emigrated to London in the late 70s where I grew up in an around west London. I have travelled a lot over the years, perhaps always searching for my allegorical "homeland". I finally settled in Marseille, a city I love more than any other and I have been living and working here for the last 8 years. My photography has become a means for me to forage into my unconscious and reveal the world as I see it. Having grown up in a country that is not my homeland, I am fascinated by what unites, separates and defines us humans and I am aware that my images are born from this. Since a young age I have always been captivated by the classical elements of tragedy. At school I studied the plays of Sophocles and Euripides, seduced and fascinated by the notions of hubris and hamartia and how even the most powerful amongst us can be just a breath away from fragility and loss. I fell in love with the plays of Shakespeare in my final years at school, my favourite being Macbeth. There is something acutely touching in watching the fall of somebody great. I am drawn to the idea that as their ego and influence crumble and the mirrors of the ego fall away we can find that beneath humanity that has so much more potential for beauty, tenderness and creativity then when we are alone on the pedestal of power. Whilst I am drawn to the iconography and sheen of modern life, I find what really interests me is to strip this back to reveal the fragile, quiet and sometimes empty spaces that lie beneath. I have always loved the paintings of Edward Hopper whose work encapsulates so perfectly the constant possibility for loneliness and vulnerability in our fast lives whilst also reminding us that it is these moments that are perhaps the most poignant. I work as a fashion and portrait photographer but essentially I am an artist and I am always looking for opportunities to express myself through my photography whether it be through my commercial work or in my personal projects. " -- Dorrie Mcveigh Exclusive Interview with Dorrie Mcveigh
Kaveh Maghsoudi
Kaveh Maghsoudi
Iran
1986
I am Kaveh Maghsoudi, an Iranian photographer navigating both the limitations and freedoms that come with life in Iran. I began capturing images in 2011. For me, photography is a way to express feelings and observations that others might overlook—the details of everyday objects, cultures, and people around me, as well as emotions within me that words cannot convey.
Stefano Azario
Stefano Azario
Italy
1966
Born in Paris, July 31 1966, Stefano Azario is a photographer and director now living between Milan and New York. Stefano began taking photographs at the age of 11 in 1977, shortly after the loss of his father. His family moved from Italy to London in 1979, where he studied photography at the London College of Printing from 1984 to 1987. Having developed a reputation as one of the best-known commercial photographers of children and babies, Stefano is currently concentrating more in documentary and fine art photography. A turning point in Stefano's career came in 1992 when Vogue Bambini began commissioning him regularly until the magazine's demise in 2018. In 2013, Stefano was asked to plan and photograph an entire issue of the magazine. In 1994, Stefano started shooting Gap Kids and BabyGap global advertising campaigns and continued uninterrupted for over 25 years. Major publications, advertising agencies, and globally known brands have worked with him. Benetton, Uniqlo, and Armani are just a few of the brands he has collaborated with. In his photography, Stefano tries above all to lead from the heart. With the likes of Dorothea Lange, Irving Penn and Luigi Ghirri as inspiration, Stefano is nimble in his working ways; at home directing on large video sets or shooting solo. Whether accessing his intimate and tender vision of children and babies or shooting in the Indonesian forest, he enjoys using a whole gamut of different cameras, films and technology, constantly challenging his way of seeing. His last exhibition "In Cerca Della Retta Via" at the No Gallery in Pontremoli, was put together with the patronage of the Italian Ministry of Culture as part of the Lunigiana Land Art festival in 2022. Statement Through the viewfinder I aim to capture fleeting, heartfelt moments that tell compelling human stories. I seek to make order of the world around me, to share an intuitive perspective, in the hope that my images can evoke emotions and memories, connecting viewer and subject. Throughout my career I have been drawn to projects that explore themes of childhood and relationships, seeking to convey experiences that shape us in these formative years. More recently I have roamed other areas from landscape to portraiture to expand and challenge my photographic practice and storytelling ability. In Search of a Path
Josh Aronson
Josh Aronson
United States/Canada
1994
Josh Aronson (b. 1994, Toronto, Canada) is a Florida-based artist whose work explores masculinity and landscape in the American South. He was raised in Florida by Iraqi and Polish parents who immigrated to the United States from Canada when he was 3. Aronson’s photographs have appeared in The New York Times, The Paris Review, The Financial Times, Frieze, Teen Vogue, Italian Vogue, Dazed, i-D, British Journal of Photography, Document Journal, The Guardian, and Apartamento. His first book, Tropicana (2020), is held in the collections of The Metropolitan Museum of Art and The Library of Congress. In 2024, he became the only artist to win both the People’s Choice Award and the Juror’s Prize for No Vacancy, the City of Miami Beach’s public art commission. Aronson’s work has been exhibited internationally by institutions including The Bass Museum of Art, Florida; Ogden Museum of Southern Art, Louisiana; and Nizhniy Tagil Museum of Fine Arts, Russia. He is the founder of Photo Book Speed Date, an artist-led public program held at Pérez Art Museum Miami and Vizcaya Museum & Gardens, among others, and designed to foster engagement with photo books through fast-paced, rotating conversations. Awarded Photographer of the Week - Week 43, 2025
Rineke Dijkstra
Rineke Dijkstra
Netherlands
1959
Rineke Dijkstra was trained at the Gerrit Rietveld Academy, Amsterdam. Her first solo exhibition took place in 1984 at de Moor in Amsterdam. Dijsktra's photographs have appeared in numerous international exhibitions, including the 1997 and 2001 Venice Biennale, the 1998 Bienal de Sao Paulo, Turin's Biennale Internationale di Fotografia in 1999 and the 2003 International Center for Photography's Triennial of Photography and Video in New York. Solo exhibitions of her work have been shown at the Museum fur Moderne Kunst, Germany (2013), the Guggenheim Museum, New York (2012), the Fotomuseum Winterthur, Switzerland (2005), and the Art Institute of Chicago, Chicago (2001). She is the recipient of a number of awards, including the Kodak Award Nederland (1987), the Art Encouragement Award Amstelveen (1993), the Werner Mantz Award (1994), the Citibank Private Bank Photography Prize (1998), and the Macallan Royal Photography Prize (2012). Source: Marian Goodman Gallery Rineke Dijkstra was born in Sittard, the Netherlands, in 1959. She studied photography at the Gerrit Rietveld Academie in Amsterdam from 1981 to 1986. Through the late 1980s, she photographed people in clubs for magazines in the Netherlands and worked for corporations as a portraitist. In 1990 she injured her hip when her car was struck by a bicycle. A self-portrait produced during her rehabilitation, in which she is seen having just emerged from a pool, exhausted, sparked a new direction in her work. Commissioned by a Dutch newspaper to make photographs based on the notion of summertime, Dijkstra took provocative photographs of adolescent bathers. These ultimately formed her breakthrough Beaches series (1992–96), which featured her young subjects in different locations in the United States and Europe. From this point on, people in transitional moments would be a major theme in her work. In 1994 she photographed mothers in the moments after giving birth and bullfighters about to enter the arena; she also commenced a series of images of Almerisa, an adolescent Bosnian refugee, whom she continued to photograph until 2003. Dijkstra ventured into video with The Buzz Club, Liverpool, UK/Mysteryworld, Zaandam, NL, taping adolescents at raves between 1996 and 1997. She has also focused on particular individuals entering the military, as in her images of Olivier Silva, a French Foreign Legionnaire (2000–01), and new inductees into the Israeli army (2002–03). For the series Park Portraits (2003–06), Dijkstra photographed children, adolescents, and teenagers momentarily suspending their varied activities to stare into the lens from scenic spots in Amsterdam’s Vondelpark, Brooklyn’s Prospect Park, Madrid’s El Parque del Retiro, and Xiamen’s Amoy Botanical Garden, among others. Source: Guggenheim
Cindy Sherman
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.
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Exclusive Interview with Jan Janssen
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Interview with Maureen Ruddy Burkhart
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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.
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Exclusive Interview with Peter Ydeen
Winner of AAP Magazine #45 Travels, his series reflects this unique vision—capturing the spirit of place through subtle layers of light, color, and emotion. Whether traveling abroad or observing the rhythms of his own surroundings, Ydeen creates images that feel both grounded and enchanted, inviting viewers into a world where reality and reverie meet.
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Exclusive Interview with Ghawam Kouchaki
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