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Win a Solo Exhibition in July 2026 + An Exclusive Interview!
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Chad Cowan
Chad Cowan
Chad Cowan

Chad Cowan

Country: United States
Birth: 1984

Chad Cowan is a photographer and aspiring filmmaker who has been chasing storms across America's Tornado Alley over the past 10 years and 200,000 miles. His goal is to capture the awe inspiring beauty of nature in the most extreme and violent weather on earth. Cowan's current film project for which he is seeking financing and distribution is a collection of timelapses of these supercells shot in 8k resolution.

Growing up in Kansas, the epicenter of severe weather on the planet, he quickly became obsessed with thunderstorms. Inspired by a few timely weather-related gifts from his grandfather at a young age, Cowan decided he wanted to chase them once he had his driver's license.

Cowan's photos have been published around the globe and his work has appeared in major motion pictures, and on most national news outlets. In 2010, his 'Icemaker' photo of the supercell that dropped the largest hailstone ever recorded on earth came in second place in a National Geographic photo contest.

He has a BS in Economics from Kansas State University

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Inspiring Portfolios

Aleksander Rodchenko
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Fabien Dendiével
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Umberto Verdoliva
© Umberto Verdoliva
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More Great Photographers To Discover

Jelena Jankovic
Jelena Jankovic
Serbia
1985
Jelena Janković is fine art photographer from Belgrade, specialized in dance and theater photography. Actively engaged in the documentary, freelance fashion, conceptual and experimental photography. Recipient of significant awards for her photography, such as Grand Prix Balkan Photo Awards 2016, 2017 Sony World Photography Awards, Siena International Photo Awards 2017, First Prize of 2017 Andrei Stenin International Press Photo Contest, FIAP plate of Sterijino Pozorje for Theatre Photography... She has exhibited at twenty groups and seven solo exhibitions and has been credited for photography in over 40 theater productions. Her photographs have been published: Rolling Stone (DE), Professional Photographer(USA), ELLE (SRB) Digital SLR Photographer magazine (UK), fotoMAGAZINE (DE), LensCulture, Lürzer's Archive, GEO (DE, ESP), National Geographic (SPA)... She is a member of The Association of Fine Arts Artist and Designers of Serbia. Statement Photography helped me to express myself, through it I study about myself and and about people around me. I create in several fields: Documentary photography is my reflection on the world around me; i use it to educate about the truths that exist. Dance and theatre photography is about expressing my inner emotion; the power and fragility of dance is affecting my most profound and intimate feelings. Fashion is the platform for staging my theatre play; it is the blend of knowledge, imagination, and precision. Conceptual and Experimental photography. photography is the space without borders; it liberates my vision beyond known conventions. The project Bird talks about me. I am 32 years old and recently I have been diagnosed with dyslexia. Because of the very poor school system, uneducated teachers that were not able to distinguish dyslexia and me not being able to discover it in time, I have been living my whole life in fear and hiding. Unaware of the problem that I’m living with, frustrated with my inability to work and study normally, I developed various methods with whom I managed to avoid reading in front of my friends and professors. I didn’t knew how to explain that the letters are shaking in front of my eyes while I was reading and that I unconsciously twisted the letters and words that I was writing. I was feeling like a bird locked in a cage. The only safe place that I felt was my art creation; creative expression was my escape. I visited zoological gardens in Belgrade and Amsterdam and photographed locked birds in cages that were representing me and all the others that were living in a similar fear. Afterwards I would draw across the photos combining different techniques like painting and collage, so I can show to the world all the freedoms that exist from the inside. This project was developed as a wish, so people can discuss openly about dyslexia, all the problems that this disease carries, and so we can set ourselves free and stop the process of hiding because of the fear of judgements. The second project is The chosen ones Inspired by visual effects, I watched a bunch of people that reminded me of the great army. In these glorious visual moments, the lights chose some of them randomly, but some of them chose themselves by taking selfies. Selfie culture started to determine our existence; everybody needs to know where we are or are we doing something. Social media has a huge impact on our views about current issues. Social media has become one of the largest epidemics that affect the social relationship between people. While we are waiting for the approval of others, we miss the opportunity to enjoy the mysterious world around us.
René Groebli
René Groebli
Switzerland
1927 | † 2026
René Groebli (born October 9, 1927 in Zurich) is an exhibiting and published Swiss industrial and advertising photographer, expert in dye transfer and colour lithography. He grew up in the Enge district of the city of Zurich, where he attended the Langzeitgymnasium. After two years, he moved to the Oberrealschule, a science-oriented grammar school, but broke off this education after two years to begin an apprenticeship as a photographer with Theo Vonow in Zurich in 1944. When his teacher moved back to Graubünden, Groebli entered the preparatory course of the Zurich School of Applied Arts, attending from the spring of 1945. Subsequently, he enrolled in the renowned professional class for photography under the direction of Hans Finsler and Alfred Willimann until the summer of 1946. Amongst his fellow students were Ernst Scheidegger and Anita Nietz. In September 1946 Groebli began training as a documentary cameraman at Central Film and Gloria Film Zürich, graduating in late 1948 with a diploma, though he did not subsequently practice as a cinematographer. In 1947 he won third prize in a competition run by the monthly magazine Camera with his series Karussell. Freelancing for Victor-N. Cohen agency in Zurich, in 1948 Groebli made his first trip to Paris and in 1949 bought his first Leica. From 1949 Groebli worked as a photojournalist and carried out assignments for the Züri-Woche, and later in Africa and the Middle East for the London agency Black Star. The pictures were published in the magazines Life and Picture Post. His first small folio Magie der Schiene ('Rail magic') comprising 16 photographs (with front and back cover) was also shot in 1949 and self-published later the same year. It captures the ‘magic’ of steam train travel during the late 1940s. Despite being young and relatively unknown, Groebli was able to borrow enough money to finance the high-quality printing. Technically it is a portfolio rather than a book, with pages unbound and laid in loose, inspired by the Man Ray and Paul Éluard publication FACILE (1935) which he purchased on his first trip to Paris in 1948. Photographed with a Rolleiflex 6×6 and a Leica 35mm camera in and around Paris, as well as locations in Switzerland, the often motion-blurred and grainy images convey the energy of steam. An obi-band with German text was produced for the approximately 30 to 40 original preorders, and other copies sold without. He held his first solo exhibition with photographs from the book. He spent three months in Paris where he met Brassaï and Robert Frank and spent a month in London. On October 13, 1951 he and Rita Dürmüller (1923-2013) were married. A second slim picture book Das Auge der Liebe ('The Eye of Love'), self-published in 1954 through his business “Turnus”, was created in collaboration with his wife Rita Groebli. This small book, though respected for its design and photography, caused some controversy, but also brought Groebli attention. It was assembled from shots made on the belated honeymoon that the photographer and his wife Rita took over two weeks in Paris in 1952 and in the following year for a few days to Marseille, though publication of the photographs was not planned in 1953 Groebli sequenced it for a book, introducing a blank page to stand in for daytime in its chronology. In the Swiss Photorundschau, published by the Swiss Photographic Association, the editor Hermann König traded correspondence with a specialist teacher of the School of Applied Arts where the book had been passed around and argued over, the term "love" in the title being considered by students to be too sentimental given the obvious sexual connotations. Where the photographer’s intention was for a romantic effect, the editor admitted that the narrative was sexualized. In the leading periodical Neue Zürcher Zeitunghe, editor Edwin Arnet objected to the emphasis on nudity. Groebli sequenced his photographs to tell the story of a woman meeting a man in a cheap hotel. The last photograph shows the woman's hand with a wedding ring on her ring finger holding an almost finished post-coitus cigarette. In the perception of audiences of the era, the implication was that the woman had to be either an ‘easy woman’, a prostitute, or an unfaithful wife. However the U.S. Camera Annual review of the work in 1955 pronounced it "a tender photo-essay on a photographer’s love for a woman.” After the death of photojournalist Paul Senn in 1953 and the killing of Werner Bischof in Peru in 1954, Kurt Blum, Robert Frank and René Groebli were newly admitted to the Kollegium Schweizerischer Photographen. A major exhibition organized by the 'Kollegium' in 1955 convinced critics that a new "Swiss style" that was indeed moving towards Photography as Expression as the exhibition was titled, and the end of critical (later dubbed 'concerned') photography. However, the association was soon disbanded because of disagreements between Gotthard Schuh and Jakob Tuggener, and Groebli had by then relinquished photojournalism. In the same year, and with four other Swiss photographers, Werner Bischof, Robert Frank, Gotthard Schuh and Sabine Weiss, René Groebli was represented with a picture in the exhibition The Family of Man curated by Edward Steichen for the Museum of Modern Art in New York. His available-light photo shows a tight crowd of excited, dancing teenagers, their movement blurred in the style of Magie der Schiene. Groebli launched his own studio for commercial industrial and advertising photography in 1955 in the newly built residential and studio building in Zurich-Wollishofen. At the end of the 1950s, Groebli also had his home and studio converted and enlarged and in addition to two studios and two black and white labs, a dye transfer workshop with several laboratory workstations was added. In 1963 Groebli founded the limited partnership Groebli + Guler with lithographer Walter Guler, renamed 'Fotolithos' in 1968. The workplace in Zurich-Wollishofen was equipped with the latest and best technical facilities and through the 1960s and early 1970s the business employed a staff of up to twelve, with good profits made from servicing the advertising photography industry. After ten years producing specialist colour photography, dye transfer production and colour lithographs for commercial advertising and industrial photography, in 1965 Groebli published his third photo book Variation through Arthur Niggli Verlag, Teufen. It presented a retrospective of possibilities of Groebli’s colour photography, though with scant mention of the role of his many employees and business partners. In 1971 he issued a second edition Variation 2, with updated information on colour technology including Cibachrome. By the late 1970s, with the more widespread adoption and acceptance of chromogenic methods of colour production less technically demanding and cheaper than dye transfer, Groebli ceased commercial photography and colour production, sold his home and studio and retired, though he still maintained connections with the industry and presented a paper on dye transfer at the 1977 Rencontres d'Arles. Groebli returned to making personal photographic essays in colour and in black and white, in series titled Fantasies, Ireland, The Shell, Burned Trees, N. Y. Visions, New York Melancholia and Nudes. Over the decades of the turn of the century, he worked on his image archive and digitized the most important photographs that he had taken over a career of sixty years. Groebli currently resides in Switzerland.Source: Wikipedia
Adriana Ferrarese
Adriana Ferrarese
Italy
Adriana is an Italian photographer and documentary filmmaker, based in Paris. After graduating from the prestigious film school La Fémis in Paris, she created the production company CERESA FILMS entirely dedicated to creative and experimental documentary films. Since then, she produced and directed several short and long feature documentaries that were awarded and shown internationally. While working with moving images she develops her passion for photography as an autodidact, embracing a new artistic language, yet deeply connected to documenting reality. Her work often explores the boundary between the natural and the artificial world, with a special attention on human societies and cultures.
Martin Stranka
Martin Stranka
Czech
1984
Martin Stranka was born on Friday April 13, 1984 in Most, Czech Republic, where he lived with his parents and older sister until the age of three. For the next twenty years, family then moves to Litoměřice, where he attends elementary school and the Josef Jungmann Gymnasium. He went on to study economics in Prague, where he has lived and worked ever since. He never studied art, but after the loss of a close friend in 2007 he turned to photography as therapy to regain his balance in life. After completing his university studies, he worked as a human resources manager while continuing in his pursuit of photography which later became his passion. In December 2010 his passion became his profession when he accepted commissions from New York publishing houses Sterling Publishing and HarperCollins. In his seventeen-year career, Stranka won more than 90 international awards, and honorary mentions in photography, of which the most significant include Special Photographer of the Year from the International photography Awards in New York in 2022, and 1st place in the Sony World Photography Awards that he won in 2018 and 2019 in London. His works were exhibited and auctioned at Christie’s in London in early 2023. Martin Stranka exhibited his work in New York, Miami, London, Paris, Prague, and Shanghai, in galleries including Christie’s London, Saatchi Gallery, SNAP! Orlando, Somerset House in London, or the exhibition hall of Prague’s Mánes. His works already attract the attention of art collectors and can be seen on the covers of books published by HarperCollins, Sterling Publishing, and Penguin Random House. Martin has also created several photographic visuals for the National Theater, the National Theater Ballet, and the National Theater Opera. He has published four monographic books the last of which was published the retrospective book for the exhibition at the Danubiana Meulensteen Art Museum. Statement Martin wrote about his work: ''I’m always searching for beauty, but to me, the sort of beauty that is obvious seems uninteresting and empty. To the contrary, a flaw in something that is seemingly perfect adds vital meaning to the captured scene and catches my often-distracted attention. At least a small wobble of emotion to contrast the calmness of mind in a piece of art makes sense to me. As an artist, I need to strip both myself and the viewer of certainty in order to create space for the necessary multitude of questions. I look for form and content that harmonizes with people and provides them with a quiet visual refuge. At first glance, the images I capture are calm, yet under the surface, they rage and roar. I plant a sense of dismay into the same artwork, be it only with the slightest hint of something sinister lurking beneath the surface. And it never ceases to amaze me that such seemingly incompatible contrasts can be combined into one image. I constantly return to the narrative of the relationship between mankind and nature, as well as the exploration of human existence itself. Loneliness and isolation – such relevant topics today – seem to me like an endless line of poetry that I stitch through every photograph, even if only marginally. I can’t let go of the feeling that it is in isolation that I find a much-needed dialogue. A dialogue with myself, within myself, into myself. The visible silence in a photograph is contrasted by hectic thoughts that I’m unable to resist. And after all, I don’t want to defy them, I just need to accept everything as an observer. Observation and voyeurism become the best ways to learn. I repeatedly try to discover the connection between visual beauty and dramatic reality. What connects the state of oversaturation of human relationships and the state of one’s own loneliness? I need to know the answer. In my work, I continue to experiment with the portrayal of personally experienced intimacy contrasted against the more ephemeral feelings of closeness between strangers. I try to give meaning to situations and objects beyond how they are perceived. I’m driven to tear down traditional contexts, to give states and objects different meanings, and thus place ordinary experiences in extraordinary contexts. Although this process may seem complicated, to me it comes completely spontaneously every step of the way. The medium of photography allows me to materialize all these external happenings and flickering events onto paper.''
Lalla Essaydi
Lalla Essaydi
Morocco
1956
Lalla Essaydi (Lalla A. Essaydi) is a Moroccan-born photographer known for her staged photographs of Arab women in contemporary art. She currently works in Boston, Massachusetts, and Morocco. Her current residence is in New York. Essaydi was born in Marrakesh, Morocco in 1956. She left to attend high school in Paris at 16. She married after returning to Morocco and moved to Saudi Arabia where she had two children and divorced. Essaydi returned to Paris in the early 1990s to attend the École nationale supérieure des Beaux-Arts. She moved to Boston in 1996 and earned her BFA from Tufts University in 1999 and her MFA in painting and photography from the School of the Museum of Fine Arts in 2003. Influenced by her experiences growing up in Morocco and Saudi Arabia, Essaydi explores the ways that gender and power are inscribed on Muslim women's bodies and the spaces they inhabit. She has stated that her work is autobiographical and that she was inspired by the differences she perceived in women's lives in the United States versus in Morocco, in terms of freedom and identity. She explores a wide range of perspectives, including issues of diaspora, identity, and expected location through her studio practice in Boston. She also looks at the ways of viewing reality while questioning limits of other cultures and challenging Orientalist art, engaging tradition, history, art, and technology. Her Grand Odalisque from the series Les Femmes du Maroc (2008), for example, cites the French painter Jean-Auguste-Dominique Ingres' painting La Grande Odalisque (1814), although her model is dressed. She also presents the resistance of stereotypes maintained by Western and Eastern societies. The inspiration for many of her works came from her childhood, in the physical space where she, as a young woman, was sent when she disobeyed. She stepped outside the permissible behavioral space, as defined by Moroccan culture. Essaydi said her works will become haunted by spaces she inhabited as a child. Several pieces of her work (including Converging Territories) combine henna, which is traditionally used to decorate the hands and feet of brides, with Arabic calligraphy, a predominantly male practice. While she uses henna to apply calligraphy to her female subjects' bodies, the words are indecipherable in an attempt to question authority and meaning. According to Essaydi, "Although it is calligraphy that is usually associated with 'meaning' (as opposed to 'mere' decoration), in the visual medium of my photographs, the 'veil' of henna, in fact, enhances the expressivity of the images. Yet, by the same token, the male art of calligraphy has been brought into a world of female experience from which it has traditionally been excluded." The women depicted in her exhibition of photographs, Les Femmes du Maroc, are represented as decorative and confined by the art of henna. Essaydi thus poses her subjects in a way that exemplifies society's views of women as primarily destined for mere beauty. Henna, however, is extremely symbolic, especially to Moroccan women. It is an association with familial celebrations of a young girl reaching puberty and transitioning into a mature woman. The use of henna in her work creates a silent atmosphere of the women "speaking" to each other through a quality of femininity. It is predominantly a painting process where women who are discouraged to work outside the home find a profitable work in applying a tattoo-like material. Beyond creating powerful pieces revolving around the art of henna, Essaydi includes interpretations of traditional Moroccan elements, including draped folds of cloths adorning women's bodies, mosaic, tiles, and Islamic architecture. Lalla Essaydi’s photo series, Les Femmes du Maroc comments on contemporary social structures, as well as acknowledges the history that has aided in constructing representations of Arab female identity. Les Femmes du Maroc is one of her three major photographic series, which is influenced by nineteenth-century European and American Orientalist art. However, Essaydi appropriates Orientalist paintings by incorporating a new subject & style derived from her own personal history and experiences to emancipate Arabian women and to demonstrate a tradition that is misunderstood by a Western audience. The title of the series is an appropriation of a painting by the French Romantic Artist Eugène Delacroix. Therefore, each photo in the series is influenced by Orientalist art that is then appropriated. Essaydi's photographic series include Converging Territories (2003–2004), Les Femmes du Maroc (2005–2006), Harem (2009), Harem Revisited (2012–2013), Bullets, and Bullets Revisited (2012–2013). Her work has been exhibited around the world, including at the National Museum of African Art, and is represented in a number of collections, including the Art Institute of Chicago; the Museum Fünf Kontinente Munich/ Germany; the San Diego Museum of Art; the Cornell Fine Arts Museum, Winter Park, Florida; the Fries Museum in Leeuwarden, The Netherlands; the Museum of Fine Arts, Boston; and the Williams College Museum of Art in Williamstown, Massachusetts. She was named as #18 in Charchub's "Top 20 Contemporary Middle Eastern Artists in 2012-2014". In 2015, the San Diego Museum of Art mounted the exhibition, Lalla Essaydi: Photographs. Source: Wikipedia Lalla A. Essaydi grew up in Morocco and now lives in USA where she received her MFA from the School of the Museum of Fine Arts/TUFTS University in May 2003. Essaydi’s work is represented by Howard Yezerski Gallery in Boston and Edwynn Houk Gallery in New York City. Her work has been exhibited in many major international locales, including Boston, Chicago, Minneapolis, Texas, Buffalo, Colorado, New York, Syria, Ireland, England, France, the Netherlands, Sharjah, U.A.E., and Japan and is represented in a number of collections, including the Williams College Museum of Art, The Art Institute of Chicago, the Fries Museum, the Netherlands, and The Kodak Museum of Art. Her art, which often combines Islamic calligraphy with representations of the female body, addresses the complex reality of Arab female identity from the unique perspective of personal experience. In much of her work, she returns to her Moroccan girlhood, looking back on it as an adult woman caught somewhere between past and present, and as an artist, exploring the language in which to “speak” from this uncertain space. Her paintings often appropriate Orientalist imagery from the Western painting tradition, thereby inviting viewers to reconsider the Orientalist mythology. She has worked in numerous media, including painting, video, film, installation, and analog photography. "In my art, I wish to present myself through multiple lenses -- as artist, as Moroccan, as traditionalist, as Liberal, as Muslim. In short, I invite viewers to resist stereotypes."Source: lallaessaydi.com
Beckett Hornik
Beckett Hornik
United States
2002
Beckett was born and lives in the San Francisco Bay Area. He began photographing in sixth grade when he decided to pick up a film SLR camera as an alternative way to capture moments throughout his early teen years. His interest in photography grew during his middle school period. He explored the photos of many masters of photography and found inspiration in the California and Bay Area art scene. He also became interested in fashion and art magazines at this time. Beckett’s photography is strongly rooted in the work he has seen and admired, as well as by the environment and people around him. In the summer of 2016, he attended an Eric Kim street photography workshop. Through this, he expanded his photography beyond the bounds of his family and friends to the less comfortable settings of streets and cities he visited. Beckett continues to shoot photos as often as possible. He is expanding his interests, always searching for the next focus of his teenage years and possibly one that will continue into his adult life.
Debe Arlook
Debe Arlook
United States
Debe Arlook is an award-winning American artist working in photography. Since her first camera at 8 years old, she has been a curious observer of her surroundings. Degrees in filmmaking and psychology inform her narratives involving the landscape, relationships, personal growth, and existential inquiry. At the end of a 20-year marriage with three teenagers to raise, Arlook's spiritual awareness practice deepened. Still photography became an expressive outlet and tool for self-discovery. In addition to her studio practice, Arlook is an educator, contributing editor, and digital printer for fine art photographers. Based in Santa Monica, California, U.S.A., her work is exhibited and published globally Statement I've often described myself as having grown up from behind the lens. During my 40s and 50s, my role as a parent and spouse dwindled as my kids became teenagers and my marriage fell apart. As painful as these petites morts were, they were catalysts for self-discovery and rebirth. My mind quieted and the curious child I once was returned. My senses magnified and I could now see what had been overlooked. I became introspective and so did the work. It took time to understand the underlying messages each photograph held for me. I didn't realize they reflected my deep-seated thoughts and emotions. I had to step outside my ego in order to see I was photographing aspects of myself. And this was street photography! I had no idea each photograph is in some way a self-portrait and still, I often forget. Photography is the conduit in my attempt to understand human nature, my surroundings, and the big existential questions. With each project, I alter the visual language using diverse photographic processes specific to each narrative. In Foreseeable Cache, I create alternate worlds using sublime southwestern landscapes to evoke transcendent feelings of meditation. My latest body of work and first documentary, one, one thousand…, is a different kind of love story. It exposes the hidden impact a rare brain disorder has on the lives of a mother and son, focusing on their individual and shared experiences of life-long care. I continue to massage this work and watch it reveal itself to me, as my work does at some point. ARTICLES Exclusive Interview with Debe Arlook All About Photo Presents 'one, one thousand' by Debe Arlook
Georgina Goodwin
Georgina Goodwin
Kenya
Georgina Goodwin is a documentary photographer and Canon Ambassador born and based in Kenya with a focus on women, refugees, social issues and environment. Known for her award-winning work on Kenya’s post-election violence, cancer in Kenya and Westgate terror attack, and most recently refugee children in Tanzania, Georgina is a contributor to Getty Images and Everyday Climate Change and a member of Women Photograph and African Photojournalism Database, a collaboration of World Press Photo and Everyday Africa. Her work has been published by NY Times, Elle, Vogue, AFP and many others, and has been exhibited in Times Square NYC, Tokyo Japan and The Louvre Paris amongst others. Georgina was a speaker at TEDxKakumaCamp, the first TED talks to be held at a refugee camp, and one of 19 finalist speakers at TEDx Nairobi in 2017. Georgina Goodwin and Climate Change Awareness
Rajan Dosaj
Rajan Dosaj
United States
1958
Born and raised in the United States, I spent nearly 20 years in the theater world, first as a dancer and singer in Broadway musicals and later as an actor and director. Upon my retirement from theater, I settled into the business world but it wouldn't be long before I was in need of a creative outlet and the Sebastiao Salgado documentary, The Salt of the Earth, rekindled my brief high school interest in photography. Soon, the books of Alec Soth, Nancy Rexroth, Sally Mann, Joshua Jackson, and many more were on my selves and with a newly purchased camera in hand, I started out on my latest adventure. Naturally, I started with dance portraits and found it incredibly exciting and fulfilling but soon I ventured into other genres to improve my work. Whether it was wildlife, street, architecture, portrait, or fine art photography, I was either taking a class or teaching myself about the genre in order to become a better photographer. In my short time behind the camera, I have been fortunate enough to have some of my images appear in galleries across the country, including Photo Place Gallery, A Smith Gallery, Praxis Gallery, Black Box Gallery, SE Center for Photography, and the Decode Gallery. With my background in theater, I know that photography can be a frustrating art form where most of the time I end up kicking myself for the mistakes that I continuously make over and over. But every once in a while, those rare moments come along when my eyes through a camera are able to see and capture an extraordinary moment.
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Latest Interviews

Exclusive Interview with Susan Anthony
Interview
Exclusive Interview with Susan Anthony
American photographer Susan Anthony brings a painter’s eye to documentary photography, creating nuanced portraits of people and places shaped by time, community, and tradition. Her work is rooted in observation, empathy, and a deep curiosity about the lives of others. Through long-term projects, she explores the relationship between individuals and the environments they inhabit, revealing the stories that connect people to a place and to one another.
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Exclusive Interview with Carole Mills Noronha
Interview
Exclusive Interview with Carole Mills Noronha
Carole Mills Noronha is an Australian photographer whose deeply personal work explores memory, family, loss, and the fragile nature of identity. Living with epilepsy and a lifelong sensitivity to light, she has developed a distinctive photographic language rooted in observation, empathy, and emotional connection. Her images are shaped by lived experience, revealing intimate stories with remarkable honesty and tenderness.
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Exclusive Interview with Trevor Cole: Pastoral Peoples and Practices
Interview
Exclusive Interview with Trevor Cole: Pastoral Peoples and Practices
For this interview, we wanted to focus specifically on The Face of the Mundari and the wider Pastoral Peoples and Practices series. We spoke with Trevor about his long-term work among the Mundari, what continues to draw him back to their cattle camps, and the experience of documenting a culture whose identity remains deeply connected to livestock, tradition, and the natural environment.
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Exclusive Interview with Frank Meo
Interview
Exclusive Interview with Frank Meo
In our latest exclusive feature for All About Photo, I speak with veteran photography representative Frank Meo about what it truly takes to build a sustainable creative career today. Frank brings decades of experience working with Fortune 500 companies, major agencies, and documentary photographers to the table. We dive into the critical business skills often left out of art school curriculums, the power of mentorship, and the inspiring evolution of PROJECTIONS—his international salon platform for visual storytellers. It’s an essential read for anyone navigating the commercial or editorial photography landscape today.
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Exclusive Interview with Carolyn Moore
Interview
Exclusive Interview with Carolyn Moore
American photographer Carolyn Moore explores the inner landscape of emotion, memory, and personal transformation through a deeply intuitive photographic practice. Her work unfolds as a quiet dialogue between artist and viewer, where images become a space for reflection, vulnerability, and connection.
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Exclusive Interview with Luca Desienna and Laura Estelle Barmwoldt
Interview
Publication
Exclusive Interview with Luca Desienna and Laura Estelle Barmwoldt
For over seven years, Of Lilies and Remains has explored the depths of the goth and darkwave underground, unfolding in Leipzig—a city long associated with a vibrant and enduring subcultural scene. Moving between iconic gatherings such as Wave-Gotik-Treffen and more intimate moments on the fringes, the project offers a rare and immersive glimpse into a world often misunderstood, yet rich in expression and community. Created by Luca in collaboration with Laura Estelle Barmwoldt, the work embraces a cinematic and deeply personal approach. Rather than documenting from a distance, it moves within the scene itself, capturing its atmosphere, its codes, and its quiet contradictions. The title Of Lilies and Remains hints at this duality—where beauty and darkness, fragility and strength coexist. As the book prepares for its release, we spoke with both artists about the origins of the project, their process, and what it means to document a subculture that continues to evolve while remaining true to its spirit.
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Exclusive Interview with Matthew Finley
Interview
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
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Exclusive Interview with Jan Janssen
Interview
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.
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Exclusive Interview with Henk Kosche
Interview
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.
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