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Scott Bourne
Photo © Tracie Maglosky
Scott Bourne
Scott Bourne

Scott Bourne

Country: United States

Scott Bourne is an Olympus Visionary and professional wildlife photographer, author and lecturer who specializes in birds. He's been involved with photography for more than four decades and his work has appeared in more than 200 publications.

He is a pioneer in the digital photography and online space and was named one of the 30 most influential photographers on the Web by Huffington Post.

Scott is also the President of Skylum Software's US and Chinese operations.

In addition to being a trainer on lynda.com and ThinkTapLearn, he's led workshops and seminars, taught for or spoken at conferences or events sponsored by Palm Beach Photographic Center, Cooperative Communicators of America, Apple, The National Association of Photoshop Professionals, CreativeLive.com, the National Association of Broadcasters, North American Music Merchants, MacWorld, Washington Professional Photographers Association, WPPI, PartnerCon, PPA, Seattle Art Center, Marketing Essentials International, The Consumer Electronics Show and Olympic Mountain School of Photography.

Scott was one of the first photographers ever to receive the designation Apple Certified Professional Trainer (T3) for Apple's Aperture. He also previously held the designation Certified Adobe Photoshop Instructor and Professional Photographers of America's Certified Professional Photographer designation.

Scott was recently awarded the designation Signed Master with the Studio Of Masters in China.

Websites

scottbourne.myportfolio.com

skylum.com

 

Inspiring Portfolios

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More Great Photographers To Discover

Aljohara Jeje
Aljohara Jeje
European
1962
Aljohara Jeje can be described as a distinguished and versatile artist with a rich background in product design, art photography, and medieval artistry techniques. She demonstrates a dedication to lifelong learning through her diverse educational pursuits, including courses in Art History, Comparative Religions, and Ethics. Aljohara's passion for the arts is evident in her continuous exploration and mastery of various artistic disciplines. Aljohara’s practice delves into the exploration of societal and cultural dynamics, drawing inspiration from historical contexts and contemporary shifts. Her work is deeply rooted in storytelling, using visual narratives to convey intricate layers of meaning, engaging deeply with history, culture, and contemporary challenges, inviting viewers to reflect on the complexities of the human experience. Her artistic voice is unique, stemming from her keen observations of her surroundings. She has the ability to translate these observations into art, making her a versatile artist. With sensitivity and a critical eye, her art practice is a multidimensional exploration of societal issues, using a variety of visual techniques and mediums to convey her messages. Aljohara’s name and award-winning works are increasingly well-known and commissioned in and outside the region due to her wide range of expertly crafted fine art. Notable accolades such as recognition from the Saudi Arabian Ministry of Culture, her 'Allard Photography Prize for International Integrity' and shortlisting by prestigious institutions like The Bill & Melinda Gates Foundation, are fine examples. Beyond her artistic achievements, Aljohara is actively engaged in enriching cultural discourse, through workshops, talks, publications, and participating in international forums, demonstrating her steadfast dedication to fostering communication through the arts. AAP Magazine AAP Magazine 38 Women
Devanshu Jha
Devanshu Jha
India
2006
Devanshu Jha is an 18-year-old photographer based in Mumbai, India. He is currently pursuing a Bachelor’s in Engineering Physics at the Indian Institute of Technology Bombay while primarily focusing on street photography. His journey with photography began at the young age of 11, capturing some flowers on his parent's mobile phones. Over the years, Devanshu refined his craft, documenting the streets of India with a distinctive blend of visual storytelling and compositional aesthetics. With a keen eye for composition and lighting, his work goes beyond mere documentation, weaving entire narratives within a single frame. His images reflect the rich social fabric of India, capturing its immense diversity with an artistic and cinematic approach. Beyond photography, Devanshu has a diverse background in visual arts and storytelling, having studied both cinema and photographic theory extensively before gaining access to professional tools. This analytical approach has helped him craft images that not only capture reality but also shape it, finding beauty in fleeting moments and coincidences that often go unnoticed." Statement "Before university, I learned photography purely from a theoretical perspective—I didn’t have the tools or the freedom to practice it. Instead, I studied photographs, analyzed cinema, and tried to understand the essence of what makes an image truly powerful. When I finally got my hands on an old DSLR from a friend, I never looked back. Since that day, I’ve spent countless mornings waking up at 4 AM, wandering the streets of Mumbai, documenting the endless stories unfolding around me. Photography has become an adventure—sometimes, I am just an observer, and at other times, I become part of the story itself, capturing the small coincidences that make everyday life extraordinary." Awarded Photographer of the Week - Week 07
Victoria Bjorklund
Victoria Bjorklund
United States
Victoria Bjorklund is a photographic & book artist based in Tacoma, Washington. She finds inspiration within the city and seeks to give a narrative in each thoughtfully captured photograph. Victoria is a graduate of the Fine Art Certificate program in Photography from Maine Media College and a graduate of the EDGE program for visual artists through Artist Trust in Seattle. Victoria accepts commissions and is available for commercial and editorial assignments. She is always looking for interesting visual stories to photograph, and welcomes your inquiries. Source: www.victoriabjorklund.com
Kenneth Josephson
Kenneth Josephson
United States
1932
Kenneth Josephson is an American photographer, born on July 1, 1932 in Detroit, Michigan. He completed his elementary education in Detroit. In 1953 after being sent in Germany by the United States Army he was trained in photolithography and aerial reconnaissance photography. In 1957 he earned a Bachelor of Fine Arts from the Rochester Institute of Technology, located in New York. There he studied under Minor White. In 1960 he earned a master's degree from the Institute of Design of the Illinois Institute of Technology. While studying there he was influenced by Aaron Siskind and Harry Callahan. After earning his master's degree in 1960 Kenneth Josephson worked at the School of the Art Institute of Chicago from 1960 to 1997, when he retired. In 1963 he co-founded the Society for Photographic Education with thirty other notable photographers. His works in the 1960s and 1970s which were focused on conceptual photography placed him at the forefront of conceptual photography. In 1972 he was awarded with the Guggenheim Fellowship grant by the John Simon Guggenheim Memorial Foundation. In 1975 and in 1979 he was awarded with the NEA grant by the National Endowment for the Arts agency. Many of his collections are found in museums such as the Metropolitan Museum of Art of New York City, the Museum of Contemporary Art, Chicago, the Smithsonian Institution in Washington, the National Museum of American Art and The Bibliothèque nationale de France in Paris. In 1977 and 1983 many of his works became part of exhibitions in Austria, the United Kingdom, Germany, the Netherlands, Sweden, Switzerland, and France.Source: Wikipedia Kenneth Josephson is recognized as one of the pioneers of conceptual photography. He has explored the concepts of photographic truth and illusion throughout his career, producing a varied oeuvre that utilizes a range of techniques from collage and construction to multiple exposures and single negative photographs. Focusing on what it means to make a picture, Josephson’s work playfully highlights the illusive nature of photography. New York State (1970) is one of Josephson’s most well known photographs, and one of a much larger series incorporating pictures within pictures. We see the artist’s arm, stretching over a body of water, and just above the horizon line he holds a picture of a ship. Positioning this ship so that it appears proportionally equal to a full-sized ship in the distance, the photograph is deliberately composed to draw attention to its artifice. Source: Yancey Richardson In 1963 he became a founding member of the Society for Photographic Education, and in 1964 his work was included in John Szarkowski’s exhibition, “The Photographer’s Eye,” which traveled internationally to forty venues from 1964 to 1972. Josephson received his first museum retrospective in 1999–2000 at the Art Institute of Chicago and the Whitney Museum. His work is featured in numerous collections around the world and his monographs include: Kenneth Josephson Museum of Contemporary Art, Chicago, 1983; Kenneth Josephson: A Retrospective The Art Institute of Chicago, 1999; Kenneth Josephson: The First Fifty Years Stephen Daiter Gallery, 2008; Kenneth Josephson: Matthew 2054 Press and Stephen Daiter Gallery, 2012; Kenneth Josephson: Selected Photographs Only Photography, 2013; and The Light of Coincidence: The Photographs of Kenneth Josephson University of Texas Press, 2016.Source: Gitterman Gallery
Marc Riboud
Marc Riboud
France
1923 | † 2016
Marc Riboud was a French photographer best known for his extensive reports on the Far East, including The Three Banners of China, Face of North Vietnam, Visions of China, and In China. Photography cannot change the world, but it can show the world as it changes. -- Marc Riboud Riboud was born in Saint-Genis-Laval and attended Lyon's lycée. He photographed his first picture in 1937, using his father's Vest Pocket Kodak camera. From 1943 to 1945, he was a member of the French Resistance as a young man during WWII. From 1945 to 1948, he studied engineering at the École Centrale de Lyon after the war. Marc Riboud worked as an engineer in Lyon factories until 1951, when he took a week-long photography vacation that inspired him to become a photographer. He relocated to Paris, where he met the founders of Magnum Photos, Henri Cartier-Bresson, Robert Capa, and David Seymour. He was a member of the organization by 1953. His ability to capture fleeting moments in life through powerful compositions was already apparent, and he would use this skill for decades to come. Eiffel Tower Painter, Paris, 1953© Marc Riboud Riboud traveled around the world for the next several decades. He was one of the first European photographers to visit China in 1957, and he documented North Vietnam in 1968, 1972, and 1976. Later in life, he traveled extensively throughout the world, primarily in Asia, Africa, the United States, and Japan. Marc Riboud has witnessed war atrocities (photographing from both the Vietnamese and American sides of the Vietnam War) as well as the apparent degeneration of a culture suppressed from within (China during Chairman Mao Zedong's Cultural Revolution). In contrast, he has captured the graces of everyday life in sun-drenched corners of the world (Fès, Angkor, Acapulco, Niger, Bénarès, Shaanxi), as well as the lyricism of child's play in everyday Paris. In 1976 he becomes president of Magnum and resigns three years later. Riboud's photographs have appeared in a variety of publications, including Life, Geo, National Geographic, Paris Match, and Stern. He has received the Overseas Press Club Award twice, the Sony World Photography Awards Lifetime Achievement Award in 2009, and major retrospective exhibitions at the Musée d'Art Moderne de la Ville de Paris and the International Center of Photography in New York. In 1998, Marc Riboud was named an Honorary Fellow of the Royal Photographic Society. The eye is made to see and not to think.... A good photograph is a surprise. How could we plan and foresee a surprise? We just have to be ready. -- Marc Riboud Eiffel Tower Painter, taken in Paris in 1953, is one of Riboud's most well-known photographs. It depicts a man painting the tower, posing like a dancer and perched between the tower's metal armature. Paris emerges from the photographic haze beneath him. Riboud's images frequently feature lone figures. In Ankara, a central figure is silhouetted against an industrial backdrop, whereas a man lies in a field in France. The vertical composition emphasizes the landscape, the trees, the sky, the water, and the blowing grass, which all surround but do not overpower the human element. The Ultimate Confrontation: The Flower and the Bayonet, Washington D. C, 21 Octobre 1967© Marc Riboud Riboud's photograph, The Ultimate Confrontation: The Flower and the Bayonet, taken on October 21, 1967, is one of the most famous anti-war images. The photograph was taken in Washington, D.C., where thousands of anti-war activists had gathered in front of the Pentagon to protest America's involvement in Vietnam. It shows a young girl, Jan Rose Kasmir, holding a flower and looking out at several rifle-wielding soldiers stationed to block the protesters. Marc Riboud stated about the photograph, "She was just talking, trying to catch the eye of the soldiers, maybe trying to have a dialogue with them. I had the feeling the soldiers were more afraid of her than she was of the bayonets." In contrast to the images in his photo essay A Journey to North Vietnam (1969), Riboud says in an accompanying interview, "My impression is that the country's leaders will not allow the slightest relaxation of the population at large [...] it is almost as if [...] they are anxious to forestall the great unknown - peace." He expanded on his observations of life in North Vietnam in the same Newsweek article: "I was astonished, for example, at the decidedly gay atmosphere in Hanoi's Reunification Park on a Sunday afternoon [...] I honestly did not have the impression they were discussing socialism or the 'American aggressors' [...] I saw quite a few patriotic posters crudely 'improved' with erotic graffiti and sketches." Vietnam, 1976© Marc Riboud There is a gap between what is photographed (or published) and what Riboud said in his interview. The author Geoffrey Wolff commented on this in 1970: "Riboud's photographs illustrate the proposition. The French photographer has been to North Vietnam twice [...] and he is most friendly, on the evidence of his pictures, to the people and the institutions he found there. His photographs are of happy faces,[...] An Air Force ace illustrates how he shot the American 'air pirates' from the sky [...] Who knows the truth about these places?" Rage Against the Machine, an American revolutionary political Rap Metal band, used two of Riboud's photographs for their second single Bullet in the Head. Both images convey strong political and social messages, but they are very different. The front cover depicts American schoolchildren pledging allegiance to the 'flag' (Stars and Stripes) in a classroom; the back cover depicts a young (probably Vietnamese) boy pointing a pistol, with soldiers on parade in the background. It's unclear who or what the boy is aiming at, or if the gun is real or a toy. Since the 1980’s Marc Riboud keeps travelling at his own tempo. He published many books, among which the most famous are The three banners of China, Journal, Huang Shan, Capital of Heaven , Angkor, the serenity of Buddhism, Marc Riboud in China. Riboud married the American sculptor Barbara Chase, who was living in Paris at the time, in 1961. They had two kids. Sally Hemings (1979), her debut novel, received critical acclaim and went on to become a best-seller. They divorced prior to 1981. He later married journalist and author Catherine Chaine. Riboud died on August 30, 2016, at the age of 93, in Paris. In 2004 his retrospective is exhibited at the Maison Européenne de la Photographie in Paris and visited by 100 000 people. Numerous museums trough Europe, as well as United States, China and Japan regularly show his work. He received many awards, among which two Overseas Press Club, the Time-Life Achievement, the Lucie Award and the ICP Infinity Award.
Laia Abril
Laia Abril
Spain
1986
Laia Abril s a Spanish photographer and multiplatform storyteller whose work relates to femininity. Abril was born in 1986 in Barcelona, Spain. She gained a degree in journalism in Barcelona. She moved to New York City to study photography at the International Center of Photography. In 2009 she enrolled at Fabrica research centre, the artist residency of Benetton in Italy, where she worked as a staff photographer and consultant photo editor at Colors magazine for a number of years. Since 2010, Abril has been working on various projects exploring the subject of eating disorders: A Bad Day, a short film about a young girl struggling with bulimia; Thinspiration (2012), which explores the use of photography in pro-ana websites; and The Epilogue (2014), documenting the indirect victims of eating disorders, through the story of the Robinson family and the aftermath of the death of Cammy Robinson to bulimia. Critic Sean O'Hagan, wrote in The Guardian that The Epilogue "... is a sombre and affecting photobook ... dense and rewarding ... At times, it makes for a painful read. From time to time, I had to put it down, take a breather. But I kept going back." Her extended study of misogyny thus far includes A History of Misogyny: Chapter One: On Abortion, about the repercussions of abortion controls in many different cultures. Work is ongoing to produce A History Of Misogyny, Chapter 2: On Rape. Her other projects include Femme Love, on a young lesbian community in Brooklyn; Last Cabaret on a sex club in Barcelona; and the Asexuals Project, a documentary film about asexuality. Abril's books include The Epilogue (2014), which documents the indirect victims of eating disorders, and A History of Misogyny: Chapter One: On Abortion (2018), about the repercussions of abortion controls in many different cultures. On Abortion won Photobook of the Year award at the Paris Photo–Aperture Foundation PhotoBook Awards. In 2018 she was awarded the Tim Hetherington Trust's Visionary Award to work on A History Of Misogyny, Chapter 2: On Rape Culture. For the long-term project A History Of Misogyny, in 2019 she was awarded the Royal Photographic Society's Hood Medal and in 2020 she was awarded the Paul Huf Award from Foam Fotografiemuseum Amsterdam.Source: Wikipedia
Monica Testa
Monica Testa
Italy
1967
Shortly after my art studies, I started working as a fashion designer for a large company, which allowed me to deepen my knowledge and work in the world of graphics and style. It was a challenging and rewarding job, thanks to which I had the opportunity to travel a lot around the world, meeting people from various ethnic backgrounds, enriching myself enormously from a cultural and personal point of view. I had always been passionate about photography and to such an extent that I could no longer do without it. After taking several courses and studying the greatest photographers in history, I decided to enrol at the Italian Institute of Photography in Milan: a constructive experience that made me grow a lot, both on a technical and creative level. I truly enjoy observing people and also studying their psychological side. That's why I especially love working on portraits and telling the stories of those I meet, always keeping a careful and respectful eye, tiptoeing into situations that I find interesting. I delve into them, I make them my own. I use photography to express how I feel, how I see, how I perceive and absorb the flow of life around me. I transform my thoughts and my feelings into images, thus aiming to become a same part of the image I portray. The River Text from "Monica’s Diary (Benin 2019):" Today we reached a small village flooded by the abundant rains of recent days. The tribe that lives there is accustomed to this situation and in effect they live in real palafittes suspended on the water; and so we reached the village in the only way possible ... by canoe. We brought t-shirts for the children, eggs for snacks and, more importantly, mosquito nets which, given the area they live in, particularly humid and infested with mosquitoes, are essential. The landscape was spectacular and my eyes saw incredible realities... all so far from our daily life! The school was small and very crowded, obviously they had been warned of our arrival and especially the children were waiting for us with trepidation. Compared to other villages we had visited the previous days, the people who live here are quite aggressive. They were a little agitated, they all talked loudly, they pushed us constantly. The adults looked at us with curiosity and the children with shyness: it was noticeable that they were not used to seeing people of a different color in their village. For this we were escorted by the local police, in case the situation deteriorated. But everything went well and another day passed ... lived as if it were a whole life. Face to Face Form zero to one hundred This is an ambitious project, started in 2017 and not yet finished. The idea would be to photograph portraits of people of different ages, sex and ethnicity, who in some way fascinated me and consequently I asked them to pose for me. I would like to get to a hundred photos, a different one for each age from zero to one hundred years.
Felice Beato
Felice Beato
Italy / United Kingdom
1832 | † 1909
Felice Beato, also known as Felix Beato, was an Italian–British photographer. He was one of the first people to take photographs in East Asia and one of the first war photographers. He is noted for his genre works, portraits, and views and panoramas of the architecture and landscapes of Asia and the Mediterranean region. Beato's travels gave him the opportunity to create images of countries, people, and events that were unfamiliar and remote to most people in Europe and North America. His work provides images of such events like the Indian Rebellion of 1857 and the Second Opium War, and represents the first substantial body of photojournalism. He influenced other photographers, and his influence in Japan, where he taught and worked with numerous other photographers and artists, was particularly deep and lasting. A death certificate discovered in 2009 shows that Beato was born in Venice in 1832 and died on 29 January 1909 in Florence. The death certificate also indicates that he was a British subject and a bachelor. It is likely that early in his life Beato and his family moved to Corfu, at the time part of the British protectorate of the Ionian Islands, and so Beato was a British subject. Because of the existence of a number of photographs signed "Felice Antonio Beato" and "Felice A. Beato", it was long assumed that there was one photographer who somehow photographed at the same time in places as distant as Egypt and Japan. In 1983 it was shown by Chantal Edel that "Felice Antonio Beato" represented two brothers, Felice Beato and Antonio Beato, who sometimes worked together, sharing a signature. The confusion arising from the signatures continues to cause problems in identifying which of the two photographers was the creator of a given image. Photographs of the 19th century often now show the limitations of the technology used, yet Beato managed to successfully work within and even transcend those limitations. He predominantly produced albumen silver prints from wet collodion glass-plate negatives. Beato pioneered and refined the techniques of hand-coloring photographs and making panoramas. He may have started hand-coloring photographs at the suggestion of Wirgman, or he may have seen the hand-colored photographs made by partners Charles Parker and William Parke Andrew. Whatever the inspiration, Beato's colored landscapes are delicate and naturalistic and his colored portraits, more strongly colored than the landscapes, are appraised as excellent. As well as providing views in color, Beato worked to represent very large subjects in a way that gave a sense of their vastness. Throughout his career, Beato's work is marked by spectacular panoramas, which he produced by carefully making several contiguous exposures of a scene and then joining the resulting prints together, thereby re-creating the expansive view. The complete version of his panorama of Pehtang comprises seven photographs joined together almost seamlessly for a total length of more than 2 meters (6 1/2 ft). Although Beato was previously believed to have died in Rangoon or Mandalay in 1905 or 1906, his death certificate, discovered in 2009, indicates that he died on 29 January 1909 in Florence, Italy.Source: Wikipedia In a peripatetic career that spanned five decades, the photographer Felice Beato (1832–1909) covered a wide swath of East Asia. Following in the wake of Britain's vast colonial empire, he was among the primary photographers to provide images of newly opened countries such as India, China, Japan, Korea, and Burma. A pioneer war photographer, Beato recorded several conflicts: the Crimean War in 1855–56, the aftermath of the Indian Mutiny in 1858–59, the Second Opium War in 1860, and the American expedition to Korea in 1871. His photographs of battlefields, the first to show images of the dead, provided a new direction for that genre. Catering to a Western audience, Beato produced an exceptionally diverse oeuvre: topographical and architectural views, including panoramas, as well as portraits and costume studies of the countries he visited or in which he resided. From Beato's series on domestic Japanese society, the full-length portrait shown here depicts the traditional armored costume of the samurai, the soldier of noble class who served the powerful rulers of Japan. Beato spent more than 20 years in Japan (1863–84), his longest residency in one country and the most prolific period of his career. There he witnessed one of the most turbulent eras in Japan's history, known as the Bakumatsu period (1853–68), when the Tokuga shogunate gave way to the Meiji reign. During his time in Japan, Beato employed the wet-collodion method, which reduced the length of exposure to seconds rather than minutes. The use of photography began to spread in Japan in the mid-1850s, and Beato's work rapidly achieved success as he offered the first hand-colored photographs and photographic albums in the country. Despite restrictions on foreigners' travel, Beato developed a remarkable and rare visual record of Japan. This photograph depicts the monumental sculpture of the Dai Bouts (Great Buddha), which had been the centerpiece of a temple that was destroyed by a typhoon. It was an important attraction at Kamakura, and Beato was the first Westerner to photograph it. He posed himself in the scene, sitting on the stairs, while local men climbed the statue. Beato left Japan in 1884, but his photographs continued to circulate with the successive sales of his negatives to different studios.Source: The J. Paul Getty Museum
Saul Bromberger
Saul Bromberger
Israel/United States
1957
Saul was born in Israel in 1957 and emigrated to America with his family when he was 9-years old, and learned about the American culture and way of life through his work as a newspaper photographer. He has worked with his wife Sandra Hoover as a photography team for 35+ years. Throughout their years of working together they have produced documentary and personal projects with the first one being their 7-year photo essay project 'Pride - Hearts of the Movement: The San Francisco Gay & Lesbian Freedom Day Parade: 1984-1990,' when the LGBTQ community was marching for its civil rights and uniting in fighting the horror of AIDS. Their other documentary photo essays include 'House of Angels-Living with AIDS at the Bailey-Boushay House: 1992-1995, 1997,' about the lives of people in their last months of life at the first AIDS hospice in America in Seattle, WA., scenes of daily life in American communities with 'Our American Portraits: 1978-2006,' and are currently working on an ongoing project about the men and women who are long term HIV survivors with 'Portrait of the AIDS Generation.' They've had solo exhibits at PhotoCentral Gallery in Hayward, CA., and at Moorpark College, CA., and been part of numerous group shows in galleries that include the Harvey Milk Photo Center in San Francisco, CA. Their work is currently being archived by the Dolph Briscoe Center of American History, at the University of Texas in Austin, TX., and starting on 9.14.2021, they will be represented by ffoto.com in Toronto, Canada. American Portraits: 1978-2006 Many years later now that I am 63 years old, I have learned that it was in my early 20's when I had found my voice. It was then that I realized that my point of view had value and that I had something important to say and share with the world. I was capturing poignant scenes in our communities that I felt were significant for how they described the American culture, moments that captured American as well as universal sensibilities. Scenes that captured essential truths about people's hopes and their successes, their challenges and despair, their individuality and their relationships, during their day to day lives in our American communities. Scenes that defined an American way of life for me. Over the 28 years of this documentary project, from 1978-2006, this is what drove me to create a portrait of America that I had observed as an outsider, because of my experiences as an immigrant where I never really fit into American society. I was born in Israel in 1957, immigrated to America as a 9-year-old with my family in 1967, and as a teenager I helped my parents run our restaurant, while in high school I barely said a word in 4-years. It was through photography then that I found myself, as I discovered over time that I could connect with people, reveal my personality, express my opinion, interpret what I saw and felt, and be recognized and honored for my way of seeing. Starting in the late 1970's, I found myself gravitating to scenes that pulsated with American themes and values. I had become a photo-journalist working for several newspaper photography staffs in California and Washington State, and oftentimes during my assignments I also captured these scenes in social gatherings, parades, business events, political receptions, at county fairs, and much more, scenes that excited me for how they captured an America that I was beginning to understand. Scenes where many people, often white and wealthy, have a life of excess and privilege, while many other people struggle just to survive. People who live in small rural towns and in the larger cities, each group with its own pace of life and traditions, with American values that are vastly different from one another. An America that I found fascinating and perplexing, that I was documenting from an outsider's point of view. Solo Exhibition September 2021 American Portraits: 1978-2006
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Interview
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.
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Interview with Maureen Ruddy Burkhart
Interview
Interview with Maureen Ruddy Burkhart
Photographer Maureen Ruddy Burkhart brings a quietly attentive and deeply human sensibility to her exploration of the world through images. Shaped by a life immersed in photography, film, and visual storytelling, her work is guided by intuition, observation, and an enduring interest in the emotional undercurrents of everyday life. With a practice rooted in both fine art traditions and documentary awareness, she approaches her subjects with sensitivity, allowing subtle moments to emerge naturally rather than be imposed. Her series Til Death, selected as the Solo Exhibition for February 2025, reflects this long-standing commitment to photography as a space for reflection rather than spectacle. Drawn to moments that exist just outside the expected frame, Burkhart’s images suggest narratives without resolving them, leaving room for ambiguity, humor, and quiet connection. We asked her a few questions about her life and work.
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