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FINAL DAYS TO WIN A SOLO EXHIBITION IN MAY 2026
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Mo Verlaan
Mo Verlaan
Mo Verlaan

Mo Verlaan

Country: Netherlands
Birth: 1963

"After graduating from the Rietvelt Art Academy in Amsterdam, I started out in experimental theatre, creating sets on location as well as performing. In 1993, I founded De Drie Gezusters with my sisters catering to (inter)national film crews on location from a converted truck. Eight years ago, my love for photography made me enter the Photo Academy. The book and series titled Resonance was part of my graduation in 2016. In these photographs my fascination with light and luminance finds its expression. The Memory of Time is a study about the plasticity of time and light, to see time and light as something elastic. For me there is a strong correlation between the impermanence of light and the fluidity of time."

"In The Memory of Time I explore abstract spaces. What interests me most, are architectural structures where light can fleet in and out, creating a new space. To me light is both a tangible and evanescent medium, if not a language. By fading, molding and carving the light in my photographs, I transform reality and move into an imaginative and intuitive realm. The process involves composing layered images that nearly look like drawings, scraping off the innate realism that is part of photography, thus creating a more sensorial and subliminal world."

Winner Single Image 9th Julia Margaret Cameron Award 2016, Category Architecture.
Works from the series Resonance received several Honorable Mentions: Tokyo International Foto Awards 2016 (2x), The Monochrome Awards 2016 (4x), The Monovision Photography Awards 2017 (6x), IPA 2017 (2x), IPA 2018 One Shot Harmony (1x). The series Resonance was exhibited at The Indian Photography Festival 2016.
The book Resonance was exhibited at: Scan Photobooks (Spain), The Griffin Museum (USA), RPSP (UK), Tripp Gallery (UK), Unveil'd (UK).

Publication in the NEW2017, 100 Best Emerging Dutch Photographers of the year 2017.

Website

www.moverlaanphotography.com

 

Inspiring Portfolios

Jesús Umbría Brito
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Nanda Hagenaars
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Carole Mills Noronha
© Carole Mills Noronha
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More Great Photographers To Discover

Aude Delannoy Dib
Aude Delannoy Dib
France
1972
Aude Delannoy Dib is a French visual and emotional recorder. She started exploring photography in 2010 when painting, a time consuming and mess generator passion, became unmanageable with three children. Street photography practice coincided with her move to the UAE in 2016. It provided both an escape from the bustle of her crowded home and an opportunity to explore her new environment. Since then, she has been capturing the unglamorous side of the ever changing landscapes of the UAE's cities, its daily rhythms and the rich diversity of its communities. Statement Aude sees photography as a powerful yet simple medium for evoking emotions and sparking reflections. She finds beauty in the overlooked details and chaos, creating carefully crafted multilayered compositions that play with colours, geometry, sharp shadows and lights. For her, these elements form the emotional essence of a place.
Bettina Rheims
Bettina Rheims
France
1952
Bettina Rheims, born Bettina Caroline Germaine Rheims is a French artist and photographer. She began her career with a series of images of striptease dancers and acrobats, and over the years she became one of the most notable persons behind the lens. "I adore flesh. I am a skin photographer," she says famously, and that perfectly explains her work. It is raw and erotic, frequently involving nudity and stuffed animals, and she achieves a visceral emotion that captivates the audience. Some of her most well-known pieces raise problems of gender, androgyny, and transsexuality. Although Bettina Rheims began with obscure and marginalized subjects, her later assignments included advertising campaigns for fashion and major brands like Chanel and Lancôme, as well as prominent international magazines. Madonna, Charlotte Rampling, Catherine Deneuve, Kylie Minogue, Claudia Schiffer, and many others were photographed by Rheims. And there's something indisputably human and true in every photograph she takes, perhaps too natural and personal. I have always believed that whether the work is my idea or a commission, it is personal work.... In the end, as my old master Helmut Newton used to say, there are only two kinds of pictures: the good ones and the bad ones. -- Bettina Rheims Bettina Rheims was born in Neuilly-sur-Seine, France. She is the daughter of the French Academy's Maurice Rheims. She began her career as a photographer in 1978, at the age of 26, after working as a model, a journalist, and running an art gallery. Initially, she accomplished a lot of commissioned work, such as record covers for Jean-Jacques Goldman and celebrity portraits. She devoted herself entirely to photography beginning in 1980. She created a series of images of strippers and acrobats, which were presented in two personal exhibits in Paris in 1981, at the Centre Pompidou and the Galerie Texbraun. Encouraged by her success, she began work on a series of plush animal portraits, which were shown in Paris and New York. In 1982, Rheims' Animal series allowed her to focus her lens on a different type of nudity: stuffed animals with fixed looks, "which seemed to desire to express something beyond death." "I had to capture their stare," the photographer claimed. The photographer questioned gender, androgyny, and transsexuality in Modern Lovers (1989-1990). Les Espionnes (1992) and Kim (1993) were two subsequent publications on the same subject (1994). At the same time she took portrait images for worldwide magazines and advertising campaigns (Well and Chanel), created her first fashion series, worked on cover sleeves, and film posters, and in 1986 directed her first advertising campaign. Her female portraits were published in a monograph, Female Trouble, in 1989, and exhibited in Germany and Japan. The next year, she created Modern Lovers, a series of portraits of androgynous youths that were presented in France, the United Kingdom, and the United States, as well as being published in book form. I still find myself having to justify being a woman taking pictures of naked women. It never occurred to me that there was something bizarre about it, it always felt very natural. -- Bettina Rheims Bettina Rheims began work on one of her major series, Chambre Close, in the early 1990s (1990-1992). This was her first color work, and it marked the beginning of her partnership with novelist Serge Bramly, in which her images were combined with the writer's fiction. Chambre Close is a parody of the first pornographic images in form — chambers with fading walls and old-fashioned wallpaper — but in substance, it attempts to stage amateur models in stances that play on the eroticism and misunderstanding between those looking and those displaying themselves. At the close of his presidential campaign in 1995, Jacques Chirac allowed Rheims to work behind the scenes on a series of images depicting the last moments of the election. Following the election, the French Republic's Presidency commissioned Bettina Rheims to create the official picture of Jacques Chirac. According to Libération, she intended to give the President "the easygoing look of the great heroes in westerns." The decade ended with the publishing of the book I.N.R.I. and its accompanying exhibition in 1999. I.N.R.I. constructs a philosophical debate on the history of the crucifixion through images of episodes from Christ's life, from the Annunciation to the Ascension, once again connecting the gaze of Rheims with the writing of Serge Bramly. Bettina Rheims advocated "modern illustrations, following the advent of photography, cinema, and advertising imagery, as if Jesus were to return today." The release of this work was highly contentious in France. During two long stays in Shanghai in 2002, Bettina Rheimsmade a series about the city. "The initial impressions of a visitor coming in Shanghai are of people with deep-rooted ancestral rituals and customs who have thrown themselves into the frenzied race of the modern world." Rheims, blending into this 'alternative way of thinking,' offers us a fresh perspective on the enigma that is China's coexistence with its millenary traditions, avant-garde facet, official elements, and underground qualities. Rheims exhibited Héroïnes, a piece that was essentially an homage to sculpture, at the Galerie De Noirmont in 2005. On this occasion, the photographer worked with designer Jean Colonna to outfit the women in unique outfits. "Thus, old haute couture gowns were reassembled on each of these contemporary icons. These unusually beautiful women then toyed with a stone, which became their pedestal for a brief while." Bettina Rheims collaborated with Serge Bramly again at the end of the 2000s, and Rose, c'est Paris was shown at the Bibliothèque Nationale de France in 2010. Bettina Rheims and Serge Bramly crafted a fictional thread from autobiographical parts for the photographic story. In this piece, Paris plays "the role of the muse more than the subject, and [appears] in an almost allegorical manner through the figures weaved into a story." A young woman we'll call B. is hunting for Rose, her twin sister who she thinks has vanished. Rose, c'est Paris is presented as a "great mysterious series," a genre beloved by surrealists, and is divided into thirteen episodes in which we discover, among other things, an unusual or obscure Paris that is voluntarily timeless." Exhibited in 2012 in Düsseldorf, the Gender Studies series pursues the questioning of gender representation. The device linking image and sound (by Frédéric Sanchez) presents 27 sound portraits of young men and women who responded to a request the photographer posted on Facebook. The photos are accompanied by interview clips and have featured in several exhibitions and a book. Rheims has also worked on advertising campaigns for fashion and big brands, such as Chanel and Lancôme, as well as taking portraits of famous women for international magazines. Rheims says that she has been inspired by Diane Arbus and Helmut Newton as well as by the work of early painters.
Jean Gaumy
Jean Gaumy
France
1948
Jean Gaumy is a French photographer and filmmaker who has been associated with Magnum Photos since 1977. Gaumy was born in Pontaillac, Charente-Maritime, France. He attended school in Toulouse and Aurillac and went to university in Rouen. While a student in Rouen, he began working as a freelance photographer to help pay for his education. In 1973 he joined Gamma (agency). Much of his work has focused on human confinement. In 1975 he began work on two such projects in France: L'hôpital and Les Incarcérés, both of which were published as books. Les Incarcérés was an unprecedented project on French prisons—he was the first to receive permission to photograph them. In 1984 he made his first film, La Boucane. It was nominated for a César in 1986. That year he also began a series of trips aboard trawlers which led to his 2001 publication Pleine Mer. Beginning in 1987 he spent two years documenting Octeville-sur-Mer through the eyes of the so-called village idiot Jean-Jacques. Since the late 1980s he has also traveled often to Iran and has also traveled in Central America and Africa. He has made several other films. In recent years he has been documenting life on a nuclear submarine and has also worked on a series of mountain landscapes. In the early 1970s he married his wife Michelle and in 1975 their daughter Marie was born. Since 1995 he has lived in Fécamp, Haute Normandie. Source: Wikipedia
Ali Zolghadri
Ali Zolghadri
Iran
1993
Ali Zolghadri is an internationally acclaimed fine art photographer whose work explores silence, solitude, and the poetic tension between form and emptiness. His black-and-white conceptual compositions merge minimalism with surreal imagination, turning ordinary spaces into contemplative visual experiences. Winner of over 130 international photography awards from more than 20 countries, Zolghadri’s work has been exhibited in major cities such as Dubai, Paris, New York, Budapest, and Siena. He is the recipient of the UAE Golden Visa for Artistic Excellence. Currently residing between Tehran and Dubai, he is represented on Artsy (Simine Paris Gallery), and his limited edition works are available on Saatchi Art. Zolghadri’s art continues to push the boundaries of conceptual fine art photography, offering viewers an introspective dialogue between simplicity, emotion, and form. Statement "My art is a reflection of silence — where simplicity becomes meaning, and absence reveals emotion. Through minimal forms and subtle contrasts, I explore the fragile connection between humanity and the unseen, between light and void. Each image is a quiet attempt to make emptiness speak." Awarded Photographer of the Week - Week 44, 2025
Karoline Schneider
Karoline Schneider
Germany
1970
Born in 1970, Karoline Schneider is an artist and photographer living in the heart of Berlin. She currently teaches at Film University Babelsberg. After graduating from the University of Arts, Berlin and Film University, Potsdam/ Babelsberg, Karoline began her working life as a graphic artist and animation filmmaker with a love of photography. Since 2008 she has been working with the wet plate method as a way to challenge the limitations of the photographic form and reintroduces the random and the accidental to her artwork. Her most recent works combine images with text and installation to create pieces of complex narrative. Pears in the afternoon All images belong to the portrait series PEARS IN THE AFTERNOON that was created between 2010 and 2018. My artistic focus is on the portrait in the broadest sense: I’m always looking for the special quality of my subject, whether person, prop or situation. 
 For me, it is never about the portrait of an individual, it’s about a portrait of the human being per se.
Aindreas Scholz
Aindreas Scholz
Ireland/Germany
1981
I’m Aindreas Scholz, a photographer and educator based in London, UK, working with analogue and cameraless photographic processes. Growing up between Ireland and Germany in a bilingual family shaped how I think about place, belonging, and the environments we move through. My practice is slow and material-led, often collaborating with sunlight, polluted seawater, acidic rain, and vulnerable plant specimens to make images that hold traces of ecological change and deep time. Artist Statement: I make images with and within vulnerable landscapes, letting natural elements co-author the final print. I’m interested in care, responsibility, and the uneven ways climate change is lived. I want the work to feel intimate, like evidence that asks for attention rather than spectacle. AAP Magazine AAP Magazine 54 Nature
Maureen Ruddy Burkhart
Maureen Ruddy Burkhart
United States
1954
My creative quest has always been about the 'journey' as opposed to the 'destination'. The first is experiential, alive, organic; that latter seems rushed. I grew up in places that I now see as exotic, but at the time I just thought it was terribly inconvenient and definitely too far from friends back 'home'. In 1971, at age 17, I left Iran, after three years, in tears and some relief. I immediately thought 'why didn't I take any pictures there?'. I fell in love with that country and its people, but I would not be going back (at least, not yet!). Holding onto what memories I had taken with me, I vowed this would not happen again. So I enrolled in the SFAI. Many years have unfolded since then, and I've been a filmmaker (when 'film' was film), a writer/director, an I.Q. tester, stock photographer, and a documentary and fine art photographer. My most seminal work to date, in terms of how it changed my worldly perceptions, came after spending some three years on and off working for a documentary project in the Kibera slum of Kenya. "Kibera: A Slice of Heaven" earned numerous international awards and press, but my favorite was a local 'Artist of the Year' in Longmont, Colorado. The Firehouse Art Center curator, Jessica Kooiman Parker, called it an 'act of bravery'. Reflecting on that, I realized that bravery is a way to change the world AND the photographer, one heart at a time. The power of photography is truly unlimited. Amidst a crazy world (and always being on the move), I developed a love of landscape photography. Most people acknowledge that nature can be a place of solace and inspiration. While it is definitely the same for me, I've been creating 'scenes' from nature. I often photograph the same landscape over and over, taking my favorite parts of the series and compositing them into a singular landscape that mimics my relationship to it. It's fantasy, whimsy, and hope. In my darker landscapes, there's a moody melancholia…but I never lose sight of the hope. ARTICLES: Exclusive Interview Allegories of Melancholy Garden of Delights Interview About Til Death
Dianne Yudelson
Dianne Yudelson
United States
Dianne Yudelson is an award winning photographic artist and master of the New Eclecticism Photography. Her work has been exhibited in Malaysia, France, Thailand, and throughout the USA. Dianne is a 2013 Critical Mass Finalist and a Julia Margaret Cameron Award winner in documentary, as well as street photography. Recent 2013 exhibitions include the Natural History Museum in San Diego California, National Geographic Museum as part of FOTODC, The FENCE 2013 and 2014 in Boston as part of the Magenta Flash Forward Festival, The FENCE 2013 and 2014 in Brooklyn as part of Photoville, the 2014 FENCE in Atlanta as part the ACP festival, and The Center for Fine Art Photography as part of 2013 and 2014 Center Forward. Dianne graduated Summa Cum Laude from the University of California, Berkeley. “My fascination with photography began upon the realization that, in addition to being a wonderful means of documentation, photography can also be used as a fine art medium. My style is eclectic. In the fine tradition of eclectic artists of our past, from DaVinci to Duchamp to Calder, I embrace the challenge of exploring varied subjects and forms of expression. By that I mean, neither subject matter nor genre solely defines my images; they are defined by my artistic esthetic." Dianne’s 2013-2014 top honors include "Photographer of the Year" titles from three acclaimed international competitions; Black and White Spider Awards, Photography Masters Cup, and World Photography Gala Awards. In 2013 Dianne received: First Place in the International Photography Awards (IPA) in Fine Art and Collage, GOLD overall category PX3, Grand Prize Winner in the New York Center for Photographic Arts, Gold medalist in San Francisco International Exhibition, First Place Professional Women Photographers, First Place WPGA Black & White Awards, First Place Texas Photographic Society, and advertising honors in the LICC for a third consecutive year. "Throughout my life art has been the one true common thread, the stitches that bind my chapters together. As a photographic artist, I embrace the ability to spotlight my point of view and give a voice to my imagination." Interview With Dianne Yudelson AAP: When did you realize you wanted to be a photographer?I realized I wanted to be a photographer when I discovered that, in addition to being a wonderful means of documentation, photography can be used as a fine art medium.AAP: Where did you study photography?I am a self-taught photographer.AAP: How long have you been a photographer?In the summer of 2009 I came across an article in the Rangefinder magazine regarding the Black and White Spider Awards. This article reported that the competition was for amateurs as well as professional photographers. I researched online and discovered that the deadline for entries was in 2 days. During the next two days I photographed and created my composite image entitled “Vessels,” and entered it in the competition. The following February, “Vessels” won a nomination in the Abstract category at the 5th Spider Awards. Since 2010 I have considered myself a photographer and I have dedicated myself to photography from that point on, initially creating single images and then moving forward to create whole portfolios of work. Within two years, at the 7th Black and White Spider Awards, I was named Photographer of the Year, Honor of Distinction.AAP: Do you remember your first shot? What was it?I was about 10 years old when I took my first snapshot. Although I have always enjoyed taking pictures, I remember people commenting, “Why are you wasting film taking a photo of a lollipop discarded in the street or a chair off in the corner?” I do remember the first photograph that elicited the response “Whoa… you could sell this shot!” The comment came from a friend of mine, who was a commercial photographer. I had taken an adventurous trip to England, receiving a camera as a going away gift. Because I was traveling alone, my photos captured my personal vision of the landscape: rowboats near a river’s edge at dawn, silhouettes of statuary at sunset and the delicate curvature of wildflowers as they blew in the autumn breeze. Capturing these photographs sparked my artistic curiosity; consequently, taking the photos became one of the most exciting aspects of my journey abroad.AAP: Do you have a mentor?My mentors are all the eclectic artists who have preceded me. I have honored some of these artists in my series “Fusions” and “Monarchs in Art.” In these two series I have utilized stylistic elements of the artists who were important contributors to their artistic movements, “monarchs” of their medium, while interpreting the subject matter and creating an image truly representative of my own modern artistic style.AAP: What inspires you?I am generally inspired by all things visual, from grand vistas to the reflection of light on a teardrop. Sometimes I am immediately compelled to take a photo and at other times the visual moment triggers a thought process that leads to the creation of a photo or photo series. Every now and then, as an avid reader, I will come across a pairing of words that peak my interest. For example, I created an image to symbolize a concept I had studied in graduate school, “Synaptic Euphoria.”AAP: How could you describe your style?My style is eclectic. By that I mean I embrace the challenge of exploring varied subjects and forms of artistic expression. As part of this philosophy, I created a new art movement that I call the “New Eclecticism.” Neither subject matter nor genre solely defines my images; they are defined by my artistic esthetic.As a teen, I performed in musicals. I remember saying, “I wish I could sing like Barbara Streisand.” My mother pointed out that the world already has a Barbara Streisand. We love Barbara because she is unique. To be unique you must be yourself as the world only has one of you.” From that day forward, I have understood that to be original, you must remain true to yourself and your vision.AAP: What kind of gear do you use?I am a Nikon girl -- camera, lenses and speedlights.AAP: Do you spend a lot of time editing your images?Sometimes yes and other times no. I will say that, when I am in the process of editing or creating images, time seems to disappear; I am in my own world. When I am not shooting or creating, I am thinking about what needs to be taken care of, so that I can get back to my art.AAP: What advice would you give a young photographer?I teach a photography group and I always advise them to keep the elements of composition in mind, photograph what inspires them and, if an idea hits you out of the blue, take a second to notate it for use later. Above all else, allow your images to serve as self-expression.AAP: Do you have an idea or project you would like to share?Recently, I have focused on my nature and wildlife photography. I have always loved birds and will sit in a field, by a stream or in a ditch along the side of a road for an hour or more to capture an elusive species or to wait for that moment of interaction. As a very young girl my fondest memory was sitting on my grandmother’s porch while she showed me tintypes of my great grandmother and other loved ones. Holding these tintypes in my hand and gazing into the eyes of my ancestors while hearing stories of my grandmother’s childhood was an experience I hold dear to my heart. Those tintypes were my first exposure to the art of photography. My series "Antique Aviary" is a melding of my lifelong passion for birds, my wildlife photography and my deep appreciation of the tintype image.AAP: What was your worst memory as a photographer?In April of this year I drove 400 miles to hand deliver my framed image “Great Horned Owl” from my “Antique Aviary” to the SMASHBOX exhibition during MOPLA (Month of Photography Los Angeles). Upon exiting my rental car, I took two steps and tripped into a 12inch pothole in the parking lot across the street from the Smashbox Studios in Hollywood and broke my foot.AAP: What is your best memory as a photographer?One day I was taking a drive with my 9 year old son. We were driving down a country road appreciating the tall mustard grass. Suddenly I spotted a 6 foot fence pole that was literally covered with bees. I pulled over, jumped out of the car and grabbed my camera from the trunk as well as a jacket to throw over my head. I told my son to stay in the car and take some photos with his little camera, but not to roll down the window. Bees were flying over my head and around my body to get to the pole. As I attempted to focus on the bees I realized that all these bees were vibrating up and down the pole. In order to get the shot, I was going to have to move in very close. At a couple of feet away I took the photos in my series “A Gathering of Bees.” When I returned to the car my son was a bit distraught. I said "I’m sorry if I took too long" and he said, “But Mommy, you’re allergic to bees. What if they swarmed you? What would I do?” I shall always remember the look on his face when I told him that if they swarmed me, “Take the Shot!”
Colin Page
Colin Page
United Kingdom
1967
I begun my journey into photography thanks partly to the Duke of Edinburgh Awards project and the help of my Dad who set up a make shift darkroom in the cramped spare bedroom. I worked in a professional darkroom and then art studio for nearly 20 years. Using many different film cameras, usually borrowed or second hand, I always developed and printed my own pictures. The new technologies replaced the darkroom and I was made redundant. I tried many different things including an HND in photography as a mature student. BUT…… After a long near death illness, and with the help of my family, I took up photography again. Mostly ‘street photography’ and with new digital cameras. Using a computer instead of a darkroom but only doing that could be done in a darkroom. Awarded Photographer of the Week - Week 04
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