All about photo.com: photo contests, photography exhibitions, galleries, photographers, books, schools and venues.
FINAL DAYS TO WIN A SOLO EXHIBITION IN MAY 2026
FINAL DAYS TO WIN A SOLO EXHIBITION IN MAY 2026
Bert Stern
Bert Stern

Bert Stern

Country: United States
Birth: 1929 | Death: 2013

Bertram Stern (October 3, 1929 – June 26, 2013) was a self-taught American commercial photographer. He was the son of Jewish immigrants and grew up in Brooklyn. His father worked as a children’s portrait photographer. After dropping out of high school at the age of 16, he gained a job in the mail room at Look magazine. He became art director at Mayfair magazine, where Stern learned how to develop film and make contact sheets, and started taking his own pictures. In 1951, Stern was drafted into the US Army and was sent to Japan and assigned to the photographic department. In the 1960s Stern's heavy use of amphetamines, led to the destruction to his marriage to Balanchine ballerina, Allegra Kent. By the late 1970s Stern returned to the U.S. to photograph portraits and fashion. He was the subject of the 2010 documentary, "Bert Stern: Original Madman," directed by his secret wife, Shannah Laumeister. Ms. Laumeister and Stern never lived together, and Stern had a long standing relationship of 20+ years with Lynette Lavender who was his constant and devoted companion. His first professional assignment was in 1955 for a Madison Avenue advertising agency for Smirnoff vodka. His best known work is arguably The Last Sitting, is a collection of 2,500 photographs taken for Vogue of Marilyn Monroe over a three-day period, six weeks before her death. Stern's book The Last Sitting was published in 1982 and again in 2000. He has photographed Audrey Hepburn, Elizabeth Taylor, Madonna, Kylie Minogue, Drew Barrymore and Lindsay Lohan (recreating The Last Sitting), among others, in addition to his work for advertising and travel publications.

(Source: en.wikipedia.org)

Selected Books on Available on Amazon
The Last Sitting
 

Selected Books

Inspiring Portfolios

Call for Entries
AAP Magazine #57 Portrait
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

Janette Beckman
United Kingdom
1959
Janette Beckman is a British documentary photographer who currently lives in New York City. Beckman describes herself as a documentary photographer. While she produces a lot of work on location (such as the cover of The Police album Zenyatta Mondatta, taken in the middle of a forest in the Netherlands), she is also a studio portrait photographer. Her work has appeared on records for major labels, and in magazines including Esquire, Rolling Stone, Glamour, Italian Vogue, The Times, Newsweek, Jalouse, Mojo and others. Beckman was at King Alfred School, in Golders Green in north London, from 1953 to 1967. She spent a year at Saint Martin's School of Art, and then three years at London College of Communication studying photography. After initially working for Sounds magazine with Vivien Goldman – her first shoot was with Siouxsie and the Banshees – she had a job shooting for music magazines such as Melody Maker and The Face, with a studio and darkroom in central London. Her primary focus was the UK's burgeoning punk subculture. Beckman moved permanently to New York City in 1982 and continued her career, shooting for her UK clients as well as new ones in the U.S. After moving to New York, Beckman presented her portfolio to American record companies looking for work shooting album covers, but the gritty feel of her work did not fit the "airbrushed" aesthetic preferred at the time. She was passed on to smaller rap and hip-hop labels, where she photographed acts such as Salt-N-Pepa, LL Cool J, Public Enemy, and the Beastie Boys in their early days. In a 2015 interview with American Photo magazine, she recalled "It is amazing, 30 years later, people going 'oh you photographed legends.' I guess I did, but they weren’t legends when I was taking pictures of them".Source: Wikipedia As a child growing up in London in the 1960s, Janette Beckman visited the National Portrait Gallery. Entranced by the portraits of people from distant times and places, she instinctively knew that’s what she wanted to do. “I was always fascinated by people,” she remembers. “I’d see them at the bus stop on the way to school but I was too shy to talk to anybody, so I’d stare at them. My mother would say, ‘Don’t stare,’ but I couldn’t help myself.” Drawn to the irrepressible expression of style, character, and personality, Beckman forged ahead with her dream of becoming an artist. In the early 1970s, she enrolled at Central St. Martins to study art while living in a semi-squat in Streatham, South London, with her classmates. “We lived on four floors, shared a bathroom, and there was no heat — but my rent was only £5 a week,” she recalls. Beckman’s foray into photography happened by sheer serendipity. “We would sit around drawing each other endlessly,” she says. “My dear friend Eddie was a fantastic artist; he could draw as well as David Hockney. I would look at his work, then mine, and realize I was never going to be that good. When the end of the school year came, I had to decide what I was going to do, and I thought, I’ll try photography.” After enrolling in photography school, where she was just one of three women in the class, Janette Beckman quickly realized she didn’t want to learn by instruction — she wanted to do it herself. Determined to chart her own path, Beckman gave herself portrait assignments, and only went into class to learn the things she needed to know, like how to make prints. “I was in my really rebellious stage,” says Beckman, who followed this guiding light throughout her career. Her love for subversives, innovators, and activists is collected in the new book, Rebels: From Punk to Dior, which brings together four decades of photographs celebrating artists, musicians, and movements on the fringe that have redefined mainstream culture and society. Beckman’s photographs have played a seminal role in these seismic shifts — one so undeniable that institutions are finally taking note. In a truly full-circle moment, earlier this year, the National Portrait Gallery acquired four Beckman prints of British musicians including the Specials and Laurel Aitken as part of “Inspiring People,” a major curatorial redevelopment project to represent cultural and gender diversity across both sitter and artists.Source: Blind Magazine
Stuart Franklin
United Kingdom
1956
Stuart Franklin is a British photographer. He is a member of Magnum Photos and was its President from 2006 to 2009. Franklin was born on June 16 1956 at Guys Hospital in London. He studied drawing under Leonard McComb in Oxford and Whitechapel, London, and from 1976 to 1979 photography at West Surrey College of Art and Design, where he graduated with a BA. Moreover, between 1995 and 1997, he studied geography at the University of Oxford, first receiving a BA and the Gibbs Prize for geography. He received a doctorate in Geography from the University of Oxford in 2000. Stuart Franklin was awarded a professorship in documentary photography in 2016. He teaches photography and visual storytelling at Volda University College, Norway. From 1980 until 1985, Franklin worked with Sygma in Paris. During that time he photographed the civil war in Lebanon, unemployment in Britain, famine in Sudan and the Heysel Stadium disaster. Joining Magnum Photos in 1985, he became a full member in 1989. In the same year, Franklin photographed the uprising in Tiananmen Square and shot one of the Tank Man photographs, first published in TIME Magazine, as well as widely documenting the uprising in Beijing earning him a World Press Photo Award. In 1989 Franklin traveled with Greenpeace to Antarctica. He worked on about twenty stories for National Geographic between 1991 and 2009, subjects including Inca conqueror Francisco Pizarro and the hydro-struggle in Quebec and places such as Buenos Aires and Malaysia. In addition, he worked on book and cultural projects. In October 2008, his book Footprint: Our Landscape in Flux was published by Thames & Hudson. An ominous photographic document of Europe’s changing landscape, it highlights Franklin's ecological concern. During 2009 Franklin curated an exhibition on Gaza - Point of No Return for the Noorderlicht Photo Festival. Since 2009 he has focused on a long-term landscape project in Norway published as Narcissus in 2013. More recently he has worked on documentary projects on doctors working in Syria, and immigration in Calais. Franklin's most recent book, The Documentary Impulse was published by Phaidon in April 2016. It investigates the nature of truth in reporting and the drive towards self-representation beginning 50,000 years ago with cave art through to the various iterations and impulses that have guided documentary photography along its differing tracks for nearly 200 years. Franklin was the general chair of the World Press Photo jury 2017.Source: Wikipedia How Stuart Franklin took his Tank Man photograph In our book, The Documentary Impulse, the acclaimed photographer Stuart Franklin explores the human drive behind documentary photography, whether it's the passion to record the moments we experience, or the need to bear witness to forces that we want to change. The second of those two drives spurred Franklin in the summer of 1989, when he shot Tank Man, the unnamed, and to-this-day still unknown pro-democracy protestor who stood in the way of the Chinese army’s tanks, as they tried to clear Tiananmen Square. Franklin's film was smuggled out of Beijing to Magnum's Paris office by a French student in a box of tea, and, following its development and distribution, his picture moved world leaders across the globe, including the then US president George H W Bush. Here’s how he got that photograph. “I remember lying prone on a balcony on the sixth floor of the Beijing Hotel with the Newsweek photographer Charlie Cole, photographing the event around noon on 4 June,” Franklin recalls. “Earlier that day Tiananmen Square had been cleared by the Chinese Army. However, a group of civilians lined up to face a double row of soldiers who themselves stood in firing positions in front of a column of tanks. These civilians were shot at repeatedly, leaving at least twenty casualties. As the bodies were carried away the standoff died down and a column of tanks broke through, moving slowly eastwards. Waiting for them a few hundred metres down the road was a man in a white shirt and dark trousers, carrying two shopping bags. Alone he blocked the path of the tanks, watched by groups of nervous bystanders and perhaps fifty journalists, camera crews and photographers on balconies on almost every floor of the hotel." Franklin captured the most widely distributed image of the event. Yet, after the taking the shot, he wasn’t convinced of the image’s power. “On the balcony after the event, which lasted less than three minutes, a conversation ensued with a writer for Vanity Fair, T.D. Allman. Allman insisted on the significance of the spectacle,” Franklin writes. “I recalled images from 1968 in Prague and Bratislava where protesters stood up bare-chested against Russian tanks, and similar accounts from China during the Japanese invasion. Tank man felt very distant by comparison." Thankfully, once his film was out of the country, the world looked favourably on the photograph. “My rolls of film were smuggled out of China the following day packed in a small box of tea and carried to Paris by a French student,” he recalls. “The transparencies were later processed, duplicated and distributed from Magnum’s office in Paris." “Images and reports of the tank man incident emerged slowly. The first the world saw of the tank man was on television on 5 June. Television drew the world’s attention to the incident. George Bush Senior referenced it after watching CNN. ‘I was very moved today’, Bush said at a news conference on the morning of 5 June, ‘by the bravery of that one young individual that stood alone in front of the tanks, rolling down the avenue there.’”Source: Phaidon
Brad Walls
Australia
1992
Brad Walls is an Australian aerial photography based in Sydney. Best known for his use of close up top downs, Brad specialises in aerial portraiture and a minimalistic approach to aerial photography. Utilising one of the first consumer drones, Brad Walls stumbled across his passion for aerial content through stitching small video clips together taken during his extensive travels. 18 months on, Brad has refined his skillset, with a vision to strive and see the world from a different angle creating the perfect metaphor for his work. Pools From Above Pools From Above is an ode to the beauty found in the shapes, colours and textures of swimming pools. This unique and never-before-seen perspective uses Walls' clean, minimal aesthetic to visually showcase interesting pools from around the world. Inspired by his travels throughout Southeast Asia and within his own home country of Australia, Walls' journey initially began by capturing the bodies of water simply to document holiday memories. It wasn't until picking up the bestselling Annie Kelly coffee table book Splash: The Art of the Swimming Pool, however, that Walls would start investing time and passion into curating a series, stating that "As I turned each page of Kelly's book, a wave of childhood nostalgia washed over me, spending hours in the pool over summer." Paying powerful homage to Kelly, Walls' series chooses to keenly focus on pools' elements of composition from a bird's eye view. "I fell in love with the lines, curves and negative space of the pools, which - without alternate perspective from a drone - would have been lost." Pools From Above is also an integral part of a much larger project which is aimed at a book release in the not-too-distant future, as Walls says "The response from viewers has been positive, asking for the series to be amongst their coffee table books." Looking ahead, once the world finally re-opens, Walls has no plans of slowing down. He plans to capture even more world-renowned swimming pools across an array of idyllic locations, including Palm Springs, Mexico and the Mediterranean. Since bursting onto the photography scene in early 2019, Walls has gone on to produce award-winning photographs and garner worldwide media attention, with a primary focus on capturing aerial portraits of sportspeople like synchronized swimmers, gymnasts and ice skaters from unique perspectives and angles that audiences are normally unable to see.
Seydou Keïta
Mali
1921 | † 2001
The great African portraitist Seydou Keïta lived in Bamako, Mali from 1921 to 2001. A self-taught photographer, he opened a studio in 1948 and specialized in portraiture. Seydou Keïta soon photographed all of Bamako and his portraits gained a reputation for excellence throughout West Africa. His numerous clients were drawn by the quality of his photos and his great sense of aesthetics. Many were young men, dressed in European style clothing. Some customers brought in items they wanted to be photographed with but Keïta also had a choice of European clothing and accessories - watches, pens, radios, scooter, etc. - which he put at their disposal in his studio. The women came in flowing robes often covering their legs and their throats, only beginning to wear Western outfits in the late 60s. Seydou Keïta worked primarily with daylight and for economic reasons took only a single shot for each picture. Seydou Keïta was discovered in the West in the 1990s. His first solo exhibition took place in 1994 in Paris at the Fondation Cartier. This was followed by many others in various museums, galleries and foundations worldwide. He is now universally recognized as the father of African photography and considered one of the greatest photographers of the 20th century. "It’s easy to take a photo, but what really made a difference was that I always knew how to find the right position, and I never was wrong. Their head slightly turned, a serious face, the position of the hands... I was capable of making someone look really good. The "photos were always very good. That’s why I always say that it’s a real art." Seydou Keïta, Bamako, 1995/1996 © André Magnin From en.wikipedia.orgSeydou Keïta was born in 1921 in Bamako, although the exact date is unknown. He was the oldest in a family of five children. His father Bâ Tièkòró and his uncle Tièmòkò were furniture makers. Keïta developed an interest in photography when his uncle gave him a Kodak Brownie with a film with eight shots in 1935, after returning from a trip to Senegal. In the beginning Keïta worked as both a carpenter and photographer, taking first portraits of his family and friends, later of people in the neighborhood. He learned photography and how to develop from Pierre Garnier, a French photographic supply store owner, and from Mountaga Traoré, his mentor. In 1948 he set up his first studio in the family house in Bamako-Koura behind the main prison.From www.gallery51.comConsidered to be one the important precursors of African photography, Seydou Keïta was born in Bamako (Mali) in 1920. Like many of his contemporaries, nothing particularly predestined him to become a photographer. His uncles bring back a camera from a trip to Senegal, and the young Seydou is fascinated. He starts photographing his relatives and discovers a deep passion for this art. Although he makes furniture for a living, he spends much time with Pierre Garnier who has his own studio. There, Seydou Keïta learns the secrets of the trade and soon realises that there was an enormous demand for individual pictures. This drives him to open his own studio in 1948. Up until then, whites had had a lot of trouble convincing local population to have their pictures taken, because they were so afraid to lose their identity. With Keïta it's different: he is one of them and permits them to choose their own picture that will be left for the close family. From then on, we see the opposite effect: people queue up to have their pictures taken. This is to become the great specialty of the malinese artist. Slowly he develops his own style, in which one finds accents of Mountaga Kouyaté's work, an intellectual that fought a bitter personal battle for the independence of Soedan. To look their best, that is the sole desire of people in front of Keïta's lens. Keïta even gives them costumes, accessories and furniture to further enhance their appearance.Men, women and children, all look perfectly elegant. If we look beyond the aesthetics of the black-and-white pictures, Seydou shows us a portrait of Malinese society in full transition. Finally Seydou is to become the country's official photographer, and will stop working in 1977. Nevertheless, it will be many years before his work is noted at the famous "Festival of African Photography". Source: www.seydoukeitaphotographer.com
Damian Lemański
Damian Lemański aka Damian Wolf Wagabunda Polish freelance photojournalist documenting the life around him. He is mainly interested in people and their place in today's world - especially those left aside, on the margins of society. In 2008 he graduated from the European Academy of Photography in Warsaw - Dr Izabela Jaroszewska's school. He took part in workshops led by Kadir van Lohuizen, Pep Bonet, Tanya Habjouga, Espen Rasmussen, Stefano De Luigi, Tomasz Tomaszewski, Michael Ackerman, Lorenzo Castore. Vagabond and dreamer. At the turn of 2011 and 2012 he wandered for 181 days through South America. From this solitary expedition he edited the film 181. And in 2015 he set off on his bike from Korsze in Masuria (Poland) to Africa, to reach Dakar in Senegal after 171 days. During this expedition, together with the foundation Hear Africa, he raised money for the education of a deaf girl, Makane Dieng. From this expedition, Damian created the film Restaurant, which premiered in February 2018. In early 2019, he flew to the Greek island of Lesbos, where Europe's largest refugee camp is located, because he wanted to get to know the people that so many are afraid of without knowing them at all. For a few weeks, walking between tents in the so-called jungle next to the Moria camp (which he was not allowed into) and in other places on the island, he met hundreds of people who willingly invited him to join them around the campfire for warm tea or a meal in the tent that is currently their home, shared bread they had just baked in an oven dug into the ground, and shared heartbreaking stories. He met people who live in inhumane conditions and try to maintain their dignity, people who, having little, get offended if you don't eat enough, when they offer what they have. He also met there a wonderful Greek couple, Katerina and Nikos, who 6 days a week host the residents of the Moria and Kara Tepe camps for dinner in their restaurant and take the meals to the place. They are assisted by many volunteers, including from Poland. In October 2019, he visited Senegal again - this time to document the work of the Polish Medical Mission. At that time, he met Huleje (Little Princess) and her parents. Since 2017, every now and then he visits Lunik IX, a Roma settlement in Kosice, Slovakia, where he left his heart among the children living there. On a daily basis, he tries to love.
Polly Gaillard
United States
1965
Polly Gaillard is a fine art photographer, writer, and educator. She is part-time Professor of Art at Furman University and has taught photography workshops and college courses for more than ten years including summers abroad teaching American students in Prague, Czech Republic, and Cortona, Italy. Polly received a Master of Fine Arts in Visual Arts from Vermont College of Fine Arts in 2010. She has exhibited her fine art photographs nationally and published a limited edition artist book, Pressure Points, with a foreword by actress Jamie Lee Curtis. Polly's photographic skills traverse contemporary art, documentary, portrait, and traditional photographic practices. She lives in Greenville, SC with her daughter. You, From a Distance Making portraits in a pandemic is challenging if you like to get closer than six feet to your subject. Frustrated by an inability to work at close range, I began to make portraits on my computer screen via FaceTime and Zoom by photographing friends, family, acquaintances, strangers, and my daughter at her father's home. This collaboration with others is particularly rewarding, especially when I've put the camera down, and we sit screen to screen discussing the changes in our collective worlds while checking in to make sure the other is okay. Each person has been generous in showing me around their homes to find the right background and light. They move furniture, take pictures off the wall, change clothing to create the right contrast, and position their laptops or phones so that I can take their picture at just the right angle. I sit behind my screen watching them do the work that I so desperately want to do as I experience a heightened sense of ambivalence, the love of "seeing" others, the distaste for lack of physical control over the situation. At times, the process calls for a third person to hold the camera phone, sometimes that assistant is a six-year-old girl, a father, a husband, or a cousin. During the awkwardness of the portrait session, there are moments of laughter when cats photobomb the sitting, a mother walks in the room wanting to reclaim her office space, a dad saunters by with a laundry basket, a sibling or grandchild screams from an adjoining room, and many phones crash to the floor from their perch of prime picture-taking position. We laugh together across connected distances about the absurdity of the situation and that I am trying to make a meaningful portrait amid unpredictability. Strangely, I find the absurdity satisfying; everything feels peculiar at this moment in time. For a more technically astute photographer than myself, the lack of technical command over making screen portraits would be unnerving. In essence, the image is blurry if the Wifi connection isn't clear. There are uncontrollable color shifts due to monitor calibrations; a moire pattern may appear because the screen is refreshing, and the perspective of the body can distort if the phone isn't perfectly parallel to the subject. I won't elaborate on how the highlights and shadows clip. The image noise and pixelation can drive you mad if you don't accept it as divine intervention. I find myself wanting to jump into the scene and move things and bodies, hold reflectors, close blinds, and refrain from making my subject do the heavy lifting. However, I sit behind the computer giving direction to "look to the right, chin down, eyes up, come closer to the camera" and then I embrace every technical flaw as if it's a gift. The power I have over the subject and the limitation I command over the image humbles me. The vulnerability I feel in putting these imperfect images into the world is tempered by the realization that we are all powerless in the face of this pandemic. You, From a Distance reflects the way I have experienced life during the Covid-19 pandemic- a personal feeling of distance and loss but with a desire to hold onto normalcy of making pictures, albeit without influence over the outcome. I am interested in these new ways of seeing each other and being together without being together - I look at you on my computer, in return, you look back at me through a phone or laptop while you can also see yourself in the frame. Who are we looking at - ourselves or others? The intersection of gazes is countless at times; it excites and confuses me. The process of looking and seeing divided by screens changes everything I have learned about image-making. The portraits become my memory of shared moments across time zones with distant faces; the four walls of my house expand into the space of others' homes. The intimacy I feel with the subject ironically is far greater than the portraits I make in-person in a time before social distance. In the span of one month, I have virtually traveled to five countries, five states, and homes nearby in South Carolina. Although more than the required physical distance is maintained through these portrait sittings, the mutual human connection is undoubtedly rich with meaning and unlimited possibility. December and Everything After
Advertisement
AAP Magazine #57 Portrait
Win a Solo Exhibition in May
AAP Magazine #57 Portrait

Latest Interviews

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.
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.
Exclusive Interview with Julie Wang
Chinese-born photographer Julie Wang brings a poetic, contemplative sensitivity to her visual exploration of the world. Having lived for nearly equal parts of her life in China, Europe, and the United States, she approaches her subjects with the nuanced perspective of someone shaped by many cultures. This blend of distance, curiosity, and emotional resonance infuses her work with a quiet depth, allowing her to reveal the fragile beauty and subtle tensions that often pass unnoticed.
Call for Entries
Win A Solo Exhibition in May
Get International Exposure and Connect with Industry Insiders