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Robi Chakraborty
Robi Chakraborty
Robi Chakraborty

Robi Chakraborty

Country: United States/India
Birth: 1959

Originally from India, Robi Chakraborty studied photography under the prestigious O.P. Sharma at Triveni Kala Sangam Photography in New Delhi. He began his career doing both commercial and press photography in the early 1980s, but through wanderlust and with a spirit to explore, Robi became drawn to photographing the people in the cities and villages of his native India. Taking roads less traveled, Robi sought out cultures and ways of life that were quickly becoming lost in the contemporary, more homogenized world of today.

With his knack for finding people and places where tradition survives in the face of modernity, Robi delves below the surface and succinctly and eloquently captures moments in time that wonderfully illustrate the connection forged with the peoples and cultures that he encounters on his journeys. His work tells his subjects' stories in a way that is relatable and invites the viewer directly into their worlds.

Having lived in India, Nepal, Africa and the US, Robi portrays his global view of the world through his photography by celebrating both the diversity of his subjects yet beautifully revealing the striking similarities and capturing the humanity that we can all relate to.

Discover Robi Chakraborty's Interview

Website

www.robichakraborty.com

 

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Marijn Fidder
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Marcus Yam
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Marjory Collins
Marjory Collins
United States
1912 | † 1985
Marjory Collins was an American photojournalist. She is remembered for her coverage of the home front during World War II. She was born March 15, 1912 to Elizabeth Everts Paine and writer Frederick Lewis Collins in New York City, and grew up in nearby Scarsdale, Westchester County. She studied at Sweet Briar College and the University of Munich. In 1935, Collins moved to Greenwich Village, and over the next five years she studied photography informally with Ralph Steiner and attended Photo League events. In the 1980s she moved to San Francisco where she obtained an M.A. in American Studies at Antioch College West. Her work as a documentary photographer was taken up by major agencies. As a result of a contribution for U.S. Camera and Travel about Hoboken, New Jersey, she was invited to work for the Foreign Service of the United States Office of War Information. She completed some 50 assignments there with stories about the American way of life and support for the war effort. In line with a new emphasis on multiculturalism, she contributed to photographic coverage of African Americans as well as citizens of Czech, German, Italian and Jewish origin. In 1944 Collins worked freelance for a construction company in Alaska before traveling to Africa and Europe on government and commercial assignments. Thereafter she worked mainly as an editor and a writer covering civil rights, the Vietnam War, and women's movements. In the 1960s she edited the American Journal of Public Health. Collins was very active politically; a feminist, she founded the journal Prime Time (1971–76) "for the liberation of women in the prime of life." In 1977 Collins became an associate of the Women's Institute for Freedom of the Press. Her work is included in the collection of the Museum of Fine Arts Houston. She died in 1985 at the age of 73.Source: Wikipedia By January 1942, Collins had transferred to Washington, DC, to join Roy Stryker's famous team of documentary photographers. Over the next eighteen months, Collins completed approximately fifty different assignments consisting of three thousand photographs. Her upbeat, harmonious images reflected the OWI editorial requests for visual stories about the ideal American way of life and stories that showed the commitment of ordinary citizens in supporting the war effort. Documenting the lives of Americans, discovering my own country for the first time, I was freed of the whims of publicity men wanting posed leg art. -- Marjory Collins During World War II, race and ethnicity consciousness heightened around the globe. United States President Franklin Roosevelt issued Executive Order 8802 on June 25, 1941, to reaffirm a policy of full participation of people of every race, creed, color, and national origin in the national defense program. Multiculturalism became a topic of major importance for government agencies as the United States geared up for war. Collins worked closely with OWI colleagues John Vachon and Gordon Parks and contributed to a substantial photographic study of African Americans. Many of her assignments involved photographing "hyphenated Americans," including Chinese-, Czech-, German-, Irish-, Italian-, Jewish-, and Turkish-Americans. The photographs were used to illustrate publications dropped behind enemy lines to reassure people in Axis-power countries that the United States was sympathetic to their needs. For example, using the popular "day-in-the-life" format favored by picture magazines, Collins portrayed the Winn family at work, at play, and at home. The Winns had arrived in New York from the Czech Republic about 1939 and appeared to be thriving in October 1942. On the job, Collins gave rein to her curiosity about how the other half lived. Roy Stryker wrote in his April 13, 1943 Gossip Sheet for OWI staff, "Marjory is in Buffalo, working on women in industry. This is a special story on women workers for the London Overseas Office." "These photographs should ... portray representative types actually at work rather than posed 'cuties,'" and should show "the very important contribution made towards final victory and how they have adapted themselves to wartime conditions." For one of her topics, Collins covered a young widow (possibly giving her a fictitious name) and her six children, all less than twelve years of age. "Mrs. Grimm's" work outside the home as a crane operator forced heavy responsibility on her older children and required that her younger daughters stay in a foster home Monday through Friday. Some images reveal the family's poverty and their struggle to maintain nutrition and housekeeping ideals. With her social reform interests, Collins felt that this assignment was consistent with Stryker's encouragement to make "pictures of life as it is." She considered the Grimm Family images among her very best, but they also clashed with the glamorized Rosie-the-Riveter concept called for by the OWI. Fellow OWI photographer Alfred Palmer complained that Collins' photographs sometimes showed "the seamy side of life." Palmer and others believed that the OWI had two roles--straight news for publication in the United States and propaganda for overseas audiences. Palmer's news group wanted to clean up photographs, while Stryker's photographers wanted to show how deeply Americans sacrificed to support the war. The Grimm Family photographs are among the last images by Collins that survive in the FSA/OWI Collection. A set of almost fifty photos taken in Tunisia in May and June 1942 are credited to Collins, but no textual records have been found that explain this trip.Source: Library of Congress
Romain Laurendeau
Romain Laurendeau
France
Romain Laurendeau lives in Toulouse, France. He learned photography in High school and then went to the multimedia school of ETPA in Toulouse. His work was quickly noticed and won the Ilford contest. In 2003 he took photos of his grand-parents. The project "Papymamy" won the "coup de coeur" of Kodak's "Bouse du Talent". At the same time he did an introspective work about the night, taking photos of people drowning in their urban surroundings. This work was published and exhibited several times under the name "Urban loneliness". In 2008, he completed another body of work called "Anonymous", which was rented by the OPAC for one year in Marseille. In 2004 he spent 4 months with snowboarders. The photographs were published in the Magazine "Onboard". In 2009, Romain had surgery for a corneal transplantation to get over a long illness called "keratoconus". His eyesight was slowly decreasing and preventing him from living a normal life. From this experience he worked on the project "When Darkness is Falling". The end of his convalescence was a rebirth, a revival. After meeting a group of contemporary dancers, he started to follow them and made "Dance of the Soul" in 2011 after several artistic residences.
Hannah Price
Hannah Price
United States
1986
Raised in Fort Collins, Colorado, Hannah Price (b. 1986) is a photographic artist and filmmaker primarily interested in documenting relationships, race politics, social perception and misperception. Price is internationally known for her project City of Brotherly Love (2009-2012), a series of photographs of the men who catcalled her on the streets of Philadelphia. In 2014, Price graduated from the Yale School of Art MFA Photography program, receiving the Richard Benson Prize for excellence in photography. Over the past eight years, Price's photos have been displayed in several cities across the United States, with a few residing in the permanent collection of the Philadelphia Museum of Art. Currently, Ms. Price lives and works in Philadelphia, PA.Source: www.hannahcprice.com Born in Annapolis, Maryland; raised in Fort Collins, Colorado; and now based in Philadelphia, photographer and documentary filmmaker Hannah Price has spent years capturing the nuances of racial identities and societal perceptions. Her work is a critique of the negative and destructive powers of visual representation in determining the realities of black people and other racialized groups. For Price, image-making also offers a strategy of recuperating different ways of relating to other people and the world around us. To date, her projects have included: the internationally-renowned City of Brotherly Love— a visual survey of catcallers she encountered in Philadelphia; Resemblance— a series of portraits of inner-city high schoolers in Rochester New York; Cursed By Night, made in 2012-2013, on the perceived threat of black masculinity; and 2018’s Semaphore, exploring how individuals signal their identities. Price’s photos evince a rare attention to the subjectivities of those she photographs, even as she probes the validity and significance of the social constructs that operate around them. She has previously exhibited in several cities across the United States, with solo shows at Milwaukee Institute of Art and Design, Philadelphia Photo Arts Center, and the Silver Eye Center for Photography, Pittsburgh, while several of her photographs reside in the permanent collection of the Philadelphia Museum of Art. Now, as a 2020 Magnum nominee, Price discusses the political and aesthetic concerns that inform her work, as well as some of the problems and possibilities to be found in using visual communication as a means of fighting racism.Source: Magnum Photos Price moved to Philadelphia in 2009 from Colorado and noticed for the first time that she was getting catcalled. The photographer, who's currently working toward an MFA in photography at Yale, decided to turn the camera on the people who approached her on the Philly streets. This resulted in the series City of Brotherly Love (Philly's nickname). Ambiguity might be one of this project's most prevalent themes. It's been mistakenly referred to as "My Harassers" on some blogs, which Price does not like. Her series doesn't take an aggressive stance on catcalling; it's not meant to incite social action, she says. Rather, it's an observation, a way to react behind the camera lens. Price's portraits leave much to interpretation. Not only do we not know the situations in which she crossed paths with these men, but we also have no idea of their relationship. The photos are framed in a variety of ways; the lighting, composition and even positioning of the subjects themselves vary so much that viewers have plenty of freedom to interpret them.Source: npr
George Rodger
George Rodger
United Kingdom
1908 | † 1995
George Rodger was a British photojournalist and war photographer, best known for his work documenting World War II and Africa. He was born on May 20, 1908, in Hale, Cheshire, England, and began his career as a photographer in the 1930s, working for magazines such as National Geographic and Illustrated London News. In 1940, Rodger joined the British Army as a war photographer, and covered the North Africa campaign and the invasion of Sicily. He later joined the RAF and covered the Normandy invasion and the liberation of Europe. His photographs from this period captured the harsh realities of war and the human impact of the conflict. When I discovered that I could look at the horror of Belsen—4,000 dead and starving lying around—and think only of a nice photographic composition, I knew something had happened to me and it had to stop. -- George Rodger After the war, George Rodger traveled to Africa and documented the continent's people and cultures. He spent several years living and working in West Africa, and his photographs from this period captured the daily lives of the people and the beauty of the land. He also documented the Mau Mau rebellion in Kenya, which aimed to end British colonial rule, and the effects of the rebellion on the local population. In addition to his work as a photojournalist, Rodger was also a founding member of the Magnum Photos agency, along with other renowned photographers such as Henri Cartier-Bresson, Robert Capa, and David "Chim" Seymour. He served as the first president of the agency and played an important role in establishing its reputation as one of the premier photographic agencies in the world. Rodger's photographs have been widely exhibited and published, and his work is held in several major museums and collections, including the National Portrait Gallery in London, the Museum of Modern Art in New York, and the Bibliothèque Nationale de France in Paris. I had no contact with my contemporaries in the photographic field, nor even knowledge of their work. So I was influenced by no-one and there were no short cuts for me. I was self-taught the hard way, by trial and error... -- George Rodger Throughout his career, George Rodger always sought to document the human experience, whether it was the horrors of war or the beauty of everyday life. He believed that photography had the power to change the world and to bring about social change, and his work continues to inspire and inform photographers and photojournalists today. George Rodger passed away on July 9, 1995, in London, England. His legacy continues to inspire photographers around the world with his dedication to document the human experience, and his work remains iconic and powerful to this day.
Trent Parke
Trent Parke
Australia
1971
Trent Parke (born 1971) is an Australian photographer. He is the husband of Narelle Autio, with whom he often collaborates. He has created a number of photography books; won numerous national and international awards including four World Press Photo awards; and his photographs are held in numerous public and private collections. He is a member of Magnum Photos. Parke was born and brought up in Newcastle, New South Wales; he now lives in Adelaide, South Australia. He started photography when he was twelve. At age 13 he watched his mother die from an asthma attack. He has worked as a photojournalist for The Australian newspaper. Martin Parr and Gerry Badger say that Parke's first book Dream/Life is "as dynamic a set of street pictures as has been seen outside the United States or Japan". In 2003 he and his wife, the photographer Narelle Autio, made a 90,000 km trip around Australia, resulting in Parke's books Minutes to Midnight and The Black Rose. Parke became a member of the In-Public street photography collective in 2001. He became a Magnum Photos nominee in 2002 and a member in 2007; the first Australian invited to join.Source: Wikipedia Trent Parke, the first Australian to become a Full Member of the renowned Magnum Photo Agency, is considered one of the most innovative and challenging photographers of his generation. Moving beyond traditional documentary photography, Parke’s work sits between fiction and reality, offering an emotional and psychological portrait of family life and Australia that is poetic and often darkly humorous. In 2015, solo exhibition The Black Rose, premiered at the Art Gallery of South Australia. Featuring photographs, lightboxes, video, written texts, and books, the exhibition lead viewers through a vast, visual narrative that explored the meaning and transience of life from both personal and universal perspectives. Parke has received numerous awards and accolades. He was a Finalist, with collaborator Narelle Autio, in the 2016 Basil Sellars Art Prize and was Winner of the 2014 Photography Prudential Eye Award. Whilst working as a press photojournalist he won five Gold Lenses from the International Olympic Committee, and multiple World Press Photo Awards in 1999, 2000, and 2005. In 2003 he was awarded the prestigious W. Eugene Smith Grant in Humanistic Photography. Parke’s work has featured in exhibitions and art fairs across the globe and is held in major institutional collections, including the National Gallery of Australia, Museum of Contemporary Art, National Gallery of Victoria, Art Gallery of New South Wales, Art Gallery of South Australia, Artbank, Magnum London and Magnum Paris. In 2014, Steidl released two hardback monographs of Parke’s work, Minutes to Midnight and The Christmas Tree Bucket. The self-published book, Dream/Life, a collaboration with Narelle Autio, was awarded second place in the American Picture of the Year Award for Photography Books in 2000.Source: Stills Gallery
Cristina de Middel
Cristina de Middel
Spain
1975
Cristina de Middel (born 1975) is a Spanish documentary photographer and artist living and working in Uruapan, Mexico. De Middel self-published The Afronauts in 2012, a photobook about the short-lived Zambian space program in Southern Africa. The book quickly sold out and the work was met with critical acclaim. She was nominated for the 2013 Deutsche Börse Photography Prize for The Afronauts. In 2013, de Middel received the Infinity Award from the International Center of Photography. In 2017 she became a nominee member of Magnum Photos and in 2019 an associate member. Source: Wikipedia Cristina de Middel investigates photography’s ambiguous relationship to truth. Blending documentary and conceptual photographic practices, she plays with reconstructions and archetypes in order to build a more layered understanding of the subjects she approaches. Working from the premise that mass media is reducing our real understanding of the world we live in, De Middel responds to an urgency to re-imagine tired aesthetic tropes and insert opinion in place of facts. Her impulse for an unconventional angle developed after a 10-year career as a photojournalist when De Middel stepped outside of straight documentary and produced the acclaimed series The Afronauts (2012). It explored the history of a failed space program in Zambia in the 1960s through staged reenactments of obscure narratives, challenging the traditional depiction of the African continent. De Middel’s ongoing project Gentleman’s Club (which began in Rio de Janeiro in 2015 and has now expanded to every continent around the globe bar Australasia) focuses on prostitution’s less documented side: the male clients. Her intimate portraits of these men subvert the paradigms of the status quo to provide new sources of insight and understanding. As well as her acclaimed personal projects, De Middel has worked on commission for clients including The Nobel Peace Foundation, Christian Dior, Vanity Fair USA, Vogue USA and FC Barcelona. De Middel was born in Spain and is based between Mexico and Brazil. She became a Magnum nominee in 2017.Source: Magnum Photos
Aurelien Morissard
Aurelien Morissard
France
1982
Aurélien Morissard, born in 1982, is a self-taught photographer based in Paris. After studying graphic design and computer graphics, he dropped everything in 2013 to devote himself to his passion: photography. He then trained as an author photographer to confirm his years of personal practice. In parallel to his corporate commissions, he discovers a real attraction for photojournalism. In 2015, he joined the IP3 Press agency where he covers all types of news, from daily life to politics, from economy to social, from illustration to corporate. For 3 years, he has been working regularly with Xinhua agency on various news topics.
Frederick Sommer
Frederick Sommer
United States
1905 | † 1999
Frederick Sommer (September 7, 1905 – January 23, 1999), was an artist born in Angri, Italy and raised in Brazil. He earned a M.A. degree in Landscape Architecture (1927) from Cornell University where he met Frances Elizabeth Watson (September 20, 1904 – April 10, 1999) whom he married in 1928; they had no children. The Sommers moved to Tucson, Arizona in 1931 and then Prescott, Arizona in 1935. Sommer became a naturalized citizen of the United States on November 18, 1939. Considered a master photographer, Sommer first experimented with photography in 1931 after being diagnosed with tuberculosis the year prior. Early works on paper (starting in 1931) include watercolors, and evolve to pen-and-ink or brush plus drawings of visually composed musical score. Concurrent to the works on paper, Sommer started to seriously explore the artistic possibilities of photography in 1938 when he acquired an 8×10 Century Universal Camera, eventually encompassing the genres of still life (chicken parts and assemblage), horizonless landscapes, jarred subjects, cut-paper, cliché-verre negatives and nudes. According to art critic Robert C. Morgan, Sommer's "most extravagant, subtle, majestic, and impressive photographs—comparable in many ways to the views of Yosemite Valley’s El Capitan and Half Dome by Ansel Adams—were Sommer’s seemingly infinite desert landscapes, some of which he referred to as 'constellations.'" The last artistic body of work Sommer produced (1989–1999) was collage-based largely on anatomical illustrations. Frederick Sommer had significant artistic relationships with Edward Weston, Max Ernst, Aaron Siskind, Richard Nickel, Minor White, and others. His archive (of negatives and correspondence) was part of founding the Center for Creative Photography in 1975 along with Ansel Adams, Harry Callahan, Wynn Bullock, and Aaron Siskind. He taught briefly at Prescott College during the late 60s and substituted for Harry Callahan at IIT Institute of Design in 1957–1958 and later at the Rhode Island School of Design. In 1934, Frederick Sommer visited Los Angeles. Walking through the art museum one day, he noticed a display of musical scores. He saw them not as music, but as graphics, and found in them an elegance and grace that led him to a careful study of scores and notation. He found that the best music was visually more effective and attractive. He assumed that there was a correlation between music as we hear it and its notation; and he wondered if drawings that used notational motifs and elements could be played. He made his first “drawings in the manner of musical scores” that year. (After reviewing this text, Fred asked that the author refer to his scores “only” in this way. When the author suggested that it was perhaps too long to be repeated throughout the text, he laughed and said, “Well, use it at least once.”) Although people knew of his scores, and occasionally brought musicians to his house to play them, no one ever stayed with it for long. In 1967, both Walton Mendelson and Stephen Aldrich attended Prescott College, Prescott, Arizona, where Sommer was on the faculty. They barely knew of his reputation as a photographer, and nothing of the scores. Towards the end of September he invited them to his house for dinner, but they were to come early, and Mendelson was to bring my flute. “Can you play that?” he asked, as they looked at one of the scores, framed, and sitting atop his piano. With no guidance from him, they tried. Nervous and unsure of what they were getting into, they stopped midway through. Mendelson asked Aldrich where he was in the score: he pointed to where Mendelson had stopped. They knew then, mysterious though the scores were, they could be played. On May 9, 1968, the first public performance of the music of Frederick Sommer was given at Prescott College. Sommer had no musical training. He didn't know one note from another on his piano, nor could he read music. His record collection was surprisingly broad for that time, and his familiarity with it was thorough. What surprised Mendelson and Aldrich when they first met him were his visual skills: he could identify many specific pieces and almost any major composer by looking at the shapes of the notation on a page of printed music. Of Sommer's known works, his drawings, glue-color on paper, photographs, and writings, it is only these scores that have been a part of his creative life throughout the entirety of his artistic career. He was still drawing elegant scores in 1997. And like his skip reading, they are the closest insight to his creative process, thinking and aesthetic. Bruce Silverstein Gallery is the New York representative of the Frederick & Frances Sommer Foundation.Source: Wikipedia Frederick Sommer was an artistic polymath, with deep interests in painting, drawing, photography, sculpture and collage. With his work he intended to engage the world formally, to harvest its chance gifts, decontextualizing and rearranging found images and objects according to often shocking visual affinities. The artist played with a wide variety of forms, textures and scale to create startling compositions amid objects and sites others found too insignificant to notice. Sommer was intent on expanding the limits of where beauty could be found, and after viewing a display of original musical scores, he began to formulate his own theories correlating the graphic design to the sound of musical scores. Alongside many great artists of the period including Edward Weston, Max Ernst, Man Ray and Aaron Siskind, Sommer created a unique and avant-garde body of work formulated from his interest in Surrealism. His works have been exhibited by the world’s most important institutions, including the George Eastman House, Rochester; The J. Paul Getty Museum, Los Angeles; Delaware Art Museum; Serpentine Gallery, London; Charles Egan Gallery, New York; Philadelphia College of Art; Washington Gallery of Modern Art, Washington D.C.; Pasadena Art Museum, California; Museum of Modern Art, New York; Institute of Design, Chicago; Zimmergalerie Franck, Germany; and the Los Angeles County Museum of Art. Work by the artist is represented in major museum collections internationally such as the Metropolitan Museum of Art, New York; Smithsonian Institution, Washington D.C.; Art Institute of Chicago; Museum of Modern Art, New York; Los Angeles County Museum of Art; Museum of Fine Arts, Boston; National Gallery of Art, Washington D.C.; Maison Européenne de la Photographie; George Eastman House, Rochester; and the Victoria and Albert Museum, London. Sommer’s work has been published widely. Noteworthy publications include Frederick Sommer: Photography, Drawing, Collage (2005), The Mistress of the World Has No Name: Where Images Come From (1987), Frederick Sommer at Seventy Five, a Retrospective (1980), and Venus, Jupiter and Mars: The Photographs of Frederick Sommer (1980).Source: Bruce Silverstein Gallery
Barbara Crane
Barbara Crane
United States
1928 | † 2019
Barbara Crane (March 19, 1928 – August 7, 2019) was an American artist photographer born in Chicago, IL. Crane worked with a variety of materials including Polaroid, gelatin silver, and platinum prints among others. She was known for her experimental and innovative work that challenges the straight photograph by incorporating sequencing, layered negatives, and repeated frames. Naomi Rosenblum notes that Crane "pioneered the use of repetition to convey the mechanical character of much of contemporary life, even in its recreational aspects." Crane began her studies in art history at Mills College in Oakland, California in 1945. She transferred to New York University in 1948. In 1950, she received her BA in art history from New York University. After recommencing her career in photography, Barbara Crane showed a portfolio of her work to Aaron Siskind in 1964 and was admitted to the Graduate Program in Photography at the Institute of Design at the Illinois Institute of Technology. Crane then studied under Siskind at the Institute of Design, Illinois Institute of Technology, and received her MS from the Institute in 1966. Crane’s master’s degree thesis focused on “sculptural patterns through abstractions of the human body.” The images for this series depict bodies against white or black backgrounds – the overexposed, overdeveloped nature of the film turns these bodies into abstract outlines. John Rohrbach states, “each body almost dissolves, becoming a sinuous river flowing across a snowy landscape. This unnerving disconnect between what is seen and what is known would become a central theme of her career.” In 1971, Crane visited Ansel Adams at his home to show him a selection of her work. Adams told an assistant “See I told you photographers could still do something different” upon viewing her Repeats series. After this encounter, Adams hired Crane to teach workshops at Yosemite between 1977-1980. During Crane’s Guggenheim Fellowship (1979), she collaborated with the Center for Creative Photography in Tucson, Arizona to create a career retrospective of her work. During her time in Boston, she formed a relationship with the Polaroid Corporation and through the Polaroid Artist Support Program she experimented with Polaroid black & white and color photographic materials in numerous series. In 1995, Crane became Professor Emeritus at the School of the Art Institute of Chicago. Barbara Crane's work is represented in numerous public collections including the International Center of Photography, New York City; the George Eastman Museum, Rochester, NY; the Art Institute of Chicago; The J. Paul Getty Museum, Los Angeles; the National Museum of Modern Art, Kyoto; the Museum of Contemporary Art, Chicago; the Museum of Fine Arts, Houston; and the WestLicht Museum of Photography, Vienna, Austria. Crane's archive resides at the Center for Creative Photography at the University of Arizona in Tucson, AZ.Source: Wikipedia
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All About Photo Awards 2026
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Marijn Fidder is a Dutch documentary photographer whose work powerfully engages with current affairs and contemporary social issues. Driven by a deep sense of social justice, she uses photography to speak on behalf of the voiceless and to advocate for the rights of those who are most vulnerable. Her images have been widely published in major international outlets including National Geographic, CNN Style, NRC Handelsblad, Volkskrant, GUP New Talent, and ZEIT Magazin. Her long-term commitment to disability rights—particularly through years of work in Uganda—culminated in her acclaimed project Inclusive Nation, which earned her the title of Photographer of the Year 2025 at the All About Photo Awards. She is also the recipient of multiple prestigious honors, including awards from World Press Photo and the Global Peace Photo Award. We asked her a few questions about her life and work.
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Interview
Exclusive Interview with Alan Schaller About Irys
Alan Schaller is a London-based photographer best known for his striking black-and-white street photography and as co-founder of Street Photography International, one of the largest online communities dedicated to the genre. With years of experience both behind the camera and in building platforms that give visibility to photographers, Schaller has now turned his focus to creating a new digital space for photography itself. His latest venture, Irys, is a photography app designed by photographers, for photographers, with the aim of offering a dedicated platform where images are respected as works of art rather than treated as disposable content.
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