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Win a Solo Exhibition in April 2026 + An Exclusive Interview!
Win a Solo Exhibition in April 2026 + An Exclusive Interview!
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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More Great Photographers To Discover

Iris Brito Stevens
United States
I was born and raised in Salinas, California (U.S.), a farming community known for its lettuce. As a daughter of Mexican immigrants, I became aware of, and sensitive to, the differences between the immigrant and non-immigrant communities and their perspectives, which at times felt narrow and somewhat limiting. Growing up surrounded by family grounded me deeply, yet an insatiable curiosity and passion for learning about the world beyond me, called out. I spread my wings and traveled to destinations that were completely foreign, often under the auspices of humanitarian and educational endeavors. The lens through which I saw the world opened-up and expanded my perspective, just like a camera. Through first-hand experience, I became aware of the lives and conditions of marginalized and oppressed peoples globally. This new dimensionality helped me to confront certain realities, to grow, and to self-reflect on what it means to be human. It also led me toward activism and social documentary photography, which enabled me to blend visual narrative with the stories of other people through projects or partnerships in Uganda, the Occupied Palestinian Territories, Spain, San Francisco and more. My photographic work is my passion, and it serves to create awareness and a more intimate human connection, by encouraging a path that looks beyond our limited and inherent perceptions and conditioning. Statement In America, we place so much value on individuality and independence, that we forget how truly interdependent we are on one another, both on a local and global scale. We have become hyper-focused on the self and are losing our ability to empathize and see the intense vulnerability around us—though considering recent events, this appears to be shifting. As a social documentary photographer, I am drawn towards people and the conditions that are relevant in their lives, as individuals and as members of a family, community, or society. Our perception of the world can be limited to our own multi-faceted forms of conditioning; I utilize the impact of visual narrative to bring awareness of the human condition worldwide. There is so much beauty in diversity. I want to validate that diversity through photography, to help others grow in that appreciation, to demonstrate that we are all a part of something collectively - that life's experience doesn't begin and end with us, as individuals. Dominance consciousness is so pervasive in society; it's like a box with thick walls and nothing to see, nowhere to go, devoid of any inspiration. It kills curiosity and ideas. I want us all to be inspired and curious by the diversity we see and experience in everyday life. Diversity is beautiful.
James Fee
United States
1949 | † 2006
James Fee was an American photographer best known for his photographs of abandoned factories and lonely highways. He was born in the town of Knoxville, Iowa. Fee drove from Iowa to California after graduating from high school and settled in San Francisco. He married Sharon Kitzman in San Francisco. Fee has also lived in New York City and Los Angeles. A Graflex Norita 66 with extension tubes, tele-extenders, and mid-century telephoto lenses was used for much of Fee's earlier personal work. The camera and equipment were stolen in the early 1990s while he was working on his "Photographs of Americana" series. Fee discovered that it was difficult to replace the camera and began experimenting with the Russian-made Kieve 90 with lens embellishments. Fee appreciated the irony of finishing the series with a Russian camera. Because of Fee's approach to photography, museum curators gave his exhibitions titles like "American Noir" and "The Weight of Time." His photographs can be found in the permanent collections of the San Diego Museum of Photographic Arts, the William Benton Museum of Art, and the Getty Museum. Fee once worked with sculptor George Herms, who shared his love of the Beat Generation. Fee later taught photography at the Art Center College of Design in Pasadena, California, from 1994 to 2003. He began teaching at Otis College of Art and Design in Los Angeles in 1993. Fee photographed images he thought represented declining cultural icons in the United States, such as crumbling drive-in movie theaters and rusted, abandoned cars. During World War II, Fee's father, Russell James Fee, served in the United States Navy as a medical corpsman attached to the Marine Corps. During a tense battle on Peleliu Island in 1944, he captured images of his fellow sailors and Marines as well as the aftermath of battles. Russell Fee passed away in 1972. In 1998, James Fee visited Peleliu Island and photographed remnants of World War II battles, such as rusted and overgrown tanks, roads, and the tip of a sunken Japanese fighter plane. He attempted to photograph the same scenes that his father had captured more than 50 years before. Fee created an exhibit called the "Peleliu Project" in which he artistically combined his own photographs with images taken by his father. The exhibition toured the United States and was first shown at the Craig Krull Gallery in Santa Monica in 2001 before being permanently housed at the San Diego Museum of Photographic Arts. James Fee is survived by his wife of 30 years, Elena Stoyanov (NJ), and Illya Eric Isaac Fee (CA), his son from his first marriage. Fee was found dead in Beverly Hills, California. Hepatitis C and liver cancer were the causes of his death. At the time of his father's death, Illya Fee was by his side.
Elizabeth Bourne
United States
1964
I describe myself as an artist using a camera rather than as a photographer since I am more concerned with creating an emotional connection with the viewer rather than technical perfection. After living most of my life in the Pacific Northwest, I went to Greenland in 2017 and everything changed. I fell in love with the high arctic. In 2018 I had artist residencies in both Svalbard and Iceland. In 2019, at a time when most people my age are thinking about retirement and grandchildren, I packed seven suitcases, and moved to Longyearbyen. Now I live in the world's northernmost town on the archipelago of Svalbard. I work almost exclusively in the arctic. My work, both painting and photography, have been exhibited nationally and internationally. In 2019 I was honored to receive the Vision Excellence Award from the Miami Photography Center during Art Basel Miami for best work in a series. Svalbard: Land without Borders which is an ongoing project. My work has been collected by Adobe, Corel Draw, and the City of Seattle. About the work: In the arctic, glaciers ten thousand years old rise in shimmering cliffs of light. These ice rivers calve towering icebergs with life spans of only two years. The paleocrystic beauty of the high arctic is as rich as any Tahitian sunset. There is a struggle between those who would exploit the arctic, and those who would preserve it. I have chosen to document these changes in Svalbard, the last land without borders on our planet. My goal is to engage a heart-felt reaction in the viewer. I believe the artist must have a passion for her subject, and a core need to communicate that passion. My hope is that my work will show the arctic's beauty so that people will choose to preserve it. We need the ice. Not just for environmental reasons, but also to maintain the last truly wild, untouched place on our crowded planet.
Marie Sueur
France
1979
Born in 1979, Marie Sueur experienced a nomadic childhood. Her sister was born in Chad, her brother in Morocco, and she herself in Cameroon. These multicultural beginnings awakened in her a taste for discovery, encounters, and the unexpected ; nourishing both her imagination and her passion for storytelling. She now lives and works in Paris. Self-taught, Sueur uses photography to explore emotions, the unconscious, and subjects that are, by nature, elusive. Her work does not seek to deliver a strict representation of reality, but rather to suggest what lies beneath the visible : the poetic, the metaphorical, the mysterious. Experimentation is at the heart of her practice, which could be described as that of a “visual artist.” She often feels compelled to introduce physical éléments (embroidery, cardboard, ink…) perhaps as a way of lending greater materiality to works whose very subjects remain intangible. Her photographs have been exhibited in Paris, Arles, Aix-en-Provence, London, and Athens. In 2025, she was named Fine Art Photographer of the Year (non-professional) at the IPA International Photography Awards. She is also a finalist for the QPN Quinzaine Photographique de Nantes and the VIF Vincennes Image Festival Grand Prize. Statement "In a world that watches, analyzes, measures, and controls everything, I am fascinated by what still escapes all forms of control. Among these untamed territories where our instinctive desire for freedom remains unconstrained: the unconscious , a vast continent of ambiguities and vertigo, whispering its truths in the language of symbols and dreams. I wanted to explore this inner space where reason gives way, where the instinctive, the impulsive, the chaotic reclaim their place. These are territories where words falter and images take over. A visual wandering made up of fragments of memory, blurred intuitions, silent revolts , attempts not to grasp a fixed truth, but to capture a vibration, a breath, a fragile light at the heart of our most secret parts. This project is an invitation to feel what within us longs to break free: from imposed limits, from imprisoning gazes, from the frameworks that confine us. Through these sensitive projections, it is perception itself that trembles: what we believe we desire, what we repress, what draws us inward without our knowing. And what if this were the ultimate freedom? A space where nothing is decided, where nothing is controlled. An indomitable place where we stop appearing and simply exist: confused, incoherent, alive." Awarded Photographer of the Week - Week 39, 2025
Joel-Peter Witkin
United States
1939
Joel-Peter Witkin (born September 13, 1939, in Brooklyn, New York City) is an American photographer who lives in Albuquerque, New Mexico. His work often deals with such themes as death, corpses (and sometimes dismembered portions thereof), and various outsiders such as dwarves, transsexuals, hermaphrodites, and physically deformed people. Witkin's complex tableaux often recall religious episodes or classical paintings. Witkin was born to a Jewish father and Roman Catholic mother. His twin brother, Jerome Witkin, and son Kersen Witkin, are also painters. Witkin's parents divorced when he was young because they were unable to overcome their religious differences. He attended grammar school at Saint Cecelia's in Brooklyn and went on to Grover Cleveland High School. Between 1961 and 1964 he was a war photographer documenting the Vietnam war. Going freelance in 1967, he became the official photographer for City Walls Inc. He attended Cooper Union in New York where he studied sculpture, attaining a Bachelor of Arts degree in 1974. After Columbia University granted him a scholarship, he ended his studies at the University of New Mexico in Albuquerque, where he became Master of Fine Arts.Source: Wikipedia Finding beauty within the grotesque, Witkin’s work extends beyond post-mortem photography with his staged set-ups of corpses and dismembered parts. Witkin’s fascination with death was triggered by a life-altering episode at a very early age; he witnessed an automobile accident in front of his house in which a young girl was decapitated. Witkin has also pursued his interest in the human condition, drawing attention to “the other,” photographing marginalized groups of people. Those often cast aside by society—hermaphrodites, dwarfs, amputees, androgynes— inspire his work as he confronts the viewers’ sense of normalcy. His interest in spirituality, in particular the teachings of Christianity, has played into his work, as do frequent references to classical paintings. Works by Picasso, Balthus, Goya, Velásquez, and Miro reappear in his dramatic, staged scenes, as well as the work of E.J. Bellocq, who photographed a series on prostitutes of the red light district in New Orleans in the early twentieth century. Witkin’s work has been exhibited internationally at the Museum of Modern Art in New York, the Fraenkel Gallery in San Francisco, Galerie Baudoin Lebon in Paris, and the Bibliothèque Nationale de France in Paris, among many others. Witkin is represented by Catherine Edelman Gallery and currently resides in Albuquerque, New Mexico.Source: International Center of Photography
Laurent Dequick
Laurent Dequick is a professional architect in his forties. His photographic work has been influenced by architecture, since it is primarily focused on ideas surrounding the contemporary city and more specifically, urban sprawl. The photographer’s message is to accurately convey the impression of freneticism stemming from population density and activity in urban zones: “As you walk down the street, the lights, noises, traffic, hustle and bustle, and mix of smells are so striking that no single shot could capture all of it. So do we have to make choices? I don’t think so and I don’t want to.” To convey in images this “congestion” of urban life, Laurent Dequick does not hesitate to juxtapose, superimpose, or imbricate his shots. He fits together photographs representing architectural complexes, highways, and people, all with the same intensity. He condenses the images like the city condenses the sum of the lives of all of its inhabitants. His style is reminiscent of cubism in its rendering, which verges on abstraction in its representation of constant motion. Source: Yellow Korner The passing of time is a fascinating concept which happens all around us, at every single moment of every single day. French photographer Laurent Dequick decided to capture these fleeting seconds in a series of photographs entitled Vibrations Urbaines. Each image is a collective sequence of multiple photographs, superimposed together to visually reflect the chaos and congestion of large urban areas. The series features colorful and energetic portraits of both New York and Berlin. Viewers might feel a bit hyper as they view the still photograph which so strongly convey the motion of cars zipping past and the life of people rushing by. Dequick says his work is “primarily a reflection on the contemporary city and more specifically the proliferation of modern urban space.” Through these compositions, the artist portrays the constant urban action and excitement that are generally challenging to communicate through just one still photograph. Source: My Modern Met
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AAP Magazine #56 Shadows
Win a Solo Exhibition in April
AAP Magazine #56 Shadows

Latest Interviews

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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.
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