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FINAL DAYS TO WIN A SOLO EXHIBITION IN MAY 2026
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Ying Tang
Ying Tang
Ying Tang

Ying Tang

Country: China

Ying Tang was born and raised in Shanghai, China, and then moved to Japan where she enrolled at the Nanzan University of Nagoya and obtained a B.A. degree.

She later moved to the United States of America and graduated with a Master's degree in Broadcasting Communications from Washington State University. Soon after that, Ying moved to San Francisco, California where she worked as a corporate freelance camera person and video editor for numerous corporate and broadcast clients.

During this period, Ying developed her passion for the photography arts and mastered a skill in street photography in and around the city of San Francisco. It was at this time when she returned to school to study photography both at the New York Institute of Photography and at the School of Photography of C.C.S.F. where she obtained advanced degrees. Ying's work has been featured in the San Francisco Chronicle, San Francisco Magazine and She worked for The New York Times and The International Herald Tribune in China, Shanghai TV Magazine. Currently she relocated in Cologne, Germany and work as a Freelance Photographer.

Websites

www.yingphotography.com

@yingshanghai

 

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More Great Photographers To Discover

Robert Hecht
Robert Hecht
United States
1941
For over fifty years, Robert Hecht has been a dedicated fine art photographer. He is largely self-taught, having learned his craft primarily by studying the prints and books of many of the medium's greats, and then by attempting to apply what he absorbed from them in the darkroom (and later in the digital darkroom). In addition, he studied briefly with photographer and teacher Ruth Bernhard in the 1970's, and considers that experience meaningful for giving him direct contact and exchange of ideas with a master. His work has been exhibited internationally, purchased for both private and public collections, and showcased in many of the leading photography periodicals. Professionally, he has worked primarily as a producer-director of educational film and video programs, first at Stanford University and then in his own video production business for the past several decades. He and his wife live in Portland, Oregon. Statement I consider photography a way, if you will, to bring my experience of the visual world into clearer focus. Practicing the art of photography, which I consider a way of life in and of itself, has heightened my awareness of how in our everyday lives we are constantly surrounded by interesting subject matter. In contrast, during my early years of doing this work, I looked mainly to the classic landscape for inspiration, often pursuing dramatic vistas with large-format cameras. However, over time I came to see that I do not necessarily have to "go out shooting" or travel to impressive locales to find subjects—rather, I merely have to keep my eyes open to what is right here around me in my immediate environment and, without actually searching for a picture, simply be prepared should a picture jump out of the random visual chaos and present itself to me. This shift in focus has led me to a more spontaneous approach to making images, often enabling me to find great beauty in the most mundane materials at hand.
Kim Kyung Soo
Kim Kyung Soo
Korea
1975
Born in Seoul, Korea in 19752002 Bachelor Degree in photography, Sangmyung University, Seoul, KoreaLives and Works in Seoul, Korea When Vogue Korea asked Kim Kyoungsoo, a renowned fashion photographer to realize a series of fashion portraits that would (re-actualize) the traditionnal Korean costum (Hanbok), he also decided to realize his series Full Moon Story. His models are elegantly staged, wearing somptuous Hanbok, with their haircuts and make-up done perfectly. There is a serenity, poetry and softness which emanates from the pictures that astonishes and instantly puts the viewer in a contemplative state of mind. "During the National traditionnal festivities called 'Chuseok', many Korean people used to wear the hanbok. I wanted to show this typical ambiance with both a lyric and modern touch. I wanted a neutral stage; only shadows and reflections mattered to me: Colours, faces and models were enhanced by cold and light tones creating an almost surreal feeling." Source: www.galerieparisbeijing.com
Todd Webb
Todd Webb
United States
1905 | † 2000
Todd Webb (September 5, 1905 – April 15, 2000) was an American photographer notable for documenting everyday life and architecture in cities such as New York City, Paris as well as from the American west. His photography has been compared with Harry Callahan, Berenice Abbott, Walker Evans, and the French photographer Eugène Atget. He traveled extensively during his long life and had important friendships with artists such as Georgia O'Keeffe, Ansel Adams and Harry Callahan. He photographed famous people including Dorothea Lange. His life was like his photos in the sense of being seemingly simple, straightforward, but revealing complexity and depth upon a closer examination. Capturing history, his pictures often transcend the boundary between photography and artistic expression. Webb was born in Detroit in 1905 and grew up there and in a Quaker community in Ontario. From 1924 to 1929 he worked as a bank teller and clerk at a brokerage firm in Detroit; in another account, he was a successful stockbroker during the 1920s but lost his earnings during the Crash before the Depression. During the Depression beginning in 1929, he moved to California and worked as a prospector and earned a meager living. During these years he also worked as a fire ranger for the United States Forestry Service. Webb reportedly wrote short stories which were unpublished. After 1934, Webb returned to Detroit and worked for the automobile manufacturer Chrysler in their export division. In 1937, he visited a friend in Panama in search of gold, but had little success. But in Panama, he brought along a camera donated by his former employer, Chrysler. Webb returned to Detroit and studied at the Detroit Camera Club. He met photographer Harry Callahan. In 1940, he completed a ten‑day workshop with Ansel Adams as his teacher. In 1941, he visited Rocky Mountain State Park with Harry Callahan, and realized during this trip that he was drawn more to the urban cityscape, and although he found Adams to be an inspiration, he would not make photographs like his teacher. During World War II, Webb was a photographer for the United States Navy and was deployed to the South Pacific theater of operations. After World War II, in 1945, Webb moved to New York City and began his career as a professional photographer. He made key friendships with Alfred Stieglitz and Georgia O'Keeffe as well as Beaumont Newhall, Berenice Abbott, Helen Levitt, and Minor White. Webb began a remarkable project of walking the streets of New York City with his heavy camera and tripod and photographing people and buildings he encountered. What set these photos apart was their "straightforward, descriptive clarity" even though they were often of familiar views. One large 10-foot–long panorama photograph which was critically acclaimed showed a section of Sixth Avenue from 43rd–44th streets which, in 1991, was seen as a "visual time capsule of the city" and was described as a "stunner." Webb's photos reflected the photographer's sense of discovery and captured the times, such as photos of hand-painted banners over apartment house doors saying "Welcome Home, G.I.s". In one photograph, Webb went to the top of the RCA Building and shot south using a backlit technique, which captured the Empire State Building at night. The best photographs, according to New York Times art critic Charles Hagen, contained the "simple geometries of urban architecture" in a "simple elegance"; Hagen thought Webb's New York City photographs were his best. In 1946, he had the first solo exhibition of his photographs at the Museum of the City of New York. In 1947, Webb was hired by Fortune magazine and he worked with professional photographers funded by the Standard Oil Company led by Roy Stryker and the group included notable photographers such as Sol Libsohn. According to the New York Times, the team of professional photographers was "given amazingly free rein by its corporate sponsor" to produce a documentary about oil. One of these photographs, Webb's Pittsburgh Panorama (ca. 1950) shows a grim industrial view towards Pittsburgh from a hill near Westinghouse Bridge that takes in a bare river valley across which snake highways and railways and a row of tall smokestacks in the distance. Curator Edward Steichen selected it for the 1955 Museum of Modern Art exhibition The Family of Man, seen by 9 million visitors on its world tour. However, in his memoir, Webb records his disappointment with the way images were "over-enlarged to billboard size" losing "all the qualities that make photographs unique." Webb traveled to Paris in 1949 and married fellow American Lucille Minqueau. In Paris, Webb produced a "vivid record" of the city which earned him recognition. Then, Webbs moved back to New York City to live in Greenwich Village in 1952. In 1955, he was awarded a Guggenheim Fellowship to photographically record pioneer trails of early settlers of the western United States. He was hired in 1957 by the United Nations to photograph its General Assembly. He won a contract to photograph Sub–Saharan Africa in 1958. The Webbs moved to Santa Fe in New Mexico around 1961. Webb's photos of his friend Georgia O'Keeffe suggested not only a "loner, severe figure and self-made person" but that there was an "intense connection" between Webb and O'Keeffe. While O'Keeffe was known to have a "prickly personality", Webb's photographs portray her with a kind of "quietness and calm" suggesting a relaxed friendship, and revealing new contours of O'Keeffe's character. Webb's landscape photographs as well as photos of the artist walking among the sagebrush bring O'Keeffe to life "even in pictures where she doesn't appear", according to Chicago Tribune art critic Abigail Foerstner. His photos suggest an "ageless spirit" which was "weathered and indomitable" like desert rock formations. These photos were done using matte finish paper and appear in a book entitled Georgia O'Keeffe: The Artist's Landscape. The Webbs lived in the Provence region of France, around 1970, and he continued to photograph regularly, and later lived, for a period, in Bath, England. The Webbs finally settled in the state of Maine, living in the city of Portland, based on the suggestion of a friend. In 1978, Webb won a grant from the National Endowment for the Arts, and continued to live and work in Maine. Source: Wikipedia Up until the 1980's, Todd Webb photographed and produced a unique body of work, which has attained an important place in the annals of American photographic history. Frequently referred to as "an historian with a camera," Webb's rich images document life all over the world. His work has been exhibited nationally and internationally, and is included in numerous museum collections including the Museum of Modern Art, the Metropolitan Museum of Art, the Minneapolis Art Institute, and the Chicago Art Institute. Todd Webb died in May, 2000 at the age of 94 in Central Maine. His life was like his photographs; at first they seem very simple, without obvious tricks or manipulation, but upon closer examination, they are increasingly complex and marvellously subtle.Source: Todd Webb Archive Todd Webb used documentary photography to convey a sense of intimacy and curiosity in the relationship between history, place, and people. Although Webb initially pursued photography to augment his writing, by 1940 he saw it as his central passion. In his hometown of Detroit, Webb attended camera club meetings where he took up with fellow novice Harry Callahan, and the more experienced Arthur Siegel. In 1941, Ansel Adams led a workshop for the camera club that profoundly influenced the ambitions of both Webb and Callahan. Todd Webb’s humanistic approach to documentation allowed him to create a compelling narrative whether he was working in the great cities of the world or within the vast American landscape. The Todd Webb Archive contains personal papers and photographic materials related to his long career as a photographer, including correspondence, biographical files, exhibition documentation, manuscripts, journals, extensive files of negatives, contact sheets, and over 1,400 fine prints.Source: Center for Creative Photography
Thomas Dodd
Thomas Dodd
United States
Thomas Dodd is a visual artist and photographer based out of Atlanta, Georgia who has developed a style that he calls "painterly photo montage" - a method he employs during principal photography and in editing software with which he crafts elaborately textured pieces that have a very organic and decidedly non-digital look to them. His work often has mythic and quasi-religious themes that pay homage to Old Master art traditions while at the same time drawing from psychological archetypes that evoke a strong emotional response from the viewer. Although his artwork resembles paintings, his pieces are entirely photographic in nature, fusing many images into a cohesive whole. His larger works are often presented in a mixed media form that adds a depth and texture that complements the photography beautifully. Thomas has had numerous exhibitions of his works in many cities in the USA and around the world. He has had recent shows in New York City, Paris, Mexico City, New Orleans, Tokyo, San Antonio, Seattle, and in his hometown of Atlanta. Dodd's photographs have been featured in many magazines, on book and album covers and he frequently teaches workshops and webinars on photo-editing and marketing for artists. Thomas began his career as a visual artist in 2005. Before that, he was best known as the harpist and songwriter for the 1990s musical group Trio Nocturna, a Celtic Gothic ensemble that put out three critically-acclaimed albums ("Morphia", "Tears of Light" and "Songs of the Celtic Night") and performed at author Anne Rice's annual Halloween balls in New Orleans, as well as spawning an offshoot band called the Changelings. Thomas also played harp on two albums by Michael Gira (the driving force behind the influential post-punk band the Swans): "the Body Lovers" and the Angels of Light "New Mother". The images that Thomas creates are basically a visual equivalent of the music he composed in the 1990s. Mythic themes and their relation to emotions and psychological states continue to be his primary subjects and motivations. Source: thomasdodd.com Interview with Thomas Dodd All About Photo: When did you realize you wanted to be a photographer? Thomas Dodd: There was a period in my early teens where I was inspired by seeing a gallery show of Ansel Adams’ work, and for a short time thereafter I was compelled to study black and white film photography (of course, digital did not exist back then in the 1970s), but that inspiration quickly was replaced by the kick in the ass I received when I heard the Sex Pistols (in 1977) which made me run out and get a guitar so I could take out my teen angst upon the (non-listening) world! AAP: Where did you study photography? With whom? TD: My father taught me the basics of the camera back in the 1970s. I also took a darkroom course in high school. My reemergence as a photographer in 2006 (after a 25 year musical career playing the Celtic harp) was basically a self-taught one with quite a few online tutorials along the way! AAP: Do you have a mentor? TD: My father was a great influence on me- both as a photographer and a human being. AAP: How long have you been a photographer? TD: Since 2006. My brief dabbling in photography in the 70s barely counts! AAP: Do you remember your first shot? What was it? TD: My first real photoshoot was of my friend (and first Muse) Halley dressed in a beautiful Rococo-themed dress she made. We wandered through the streets of downtown Decatur Ga. at around midnight searching for street light to shoot in. AAP: What or who inspires you? TD: Beauty inspires me. Great painters inspire me. An artistic or chameleonesque model inspires me... AAP: How could you describe your style? TD: “Painterly” photo montage with an artistic approach AAP: Do you have a favorite photograph or series? TD: My favorite photo is always the one I am currently working on! AAP: What kind of gear do you use? Camera, lens, digital, film? TD: I really am not one of those photographers who likes to talk about gear because I think the most important tool that an artist possesses is their imagination... but I shoot with a Sony A57 using a 18-70mm lens. AAP: Do you spend a lot of time editing your images? For what purpose? TD: I seem to spend ALL my time editing photos - What purpose? Self expression and sometimes' client satisfaction! AAP: Favorite(s) photographer(s)? TD: Jan Saudek - for the way he created such boldly erotic personal imagery while hiding from a repressive Communist regime... He also used texture and color in a very painterly way which has influenced me a great deal. AAP: What advice would you give a young photographer? TD: Don't be in a hurry to "succeed", and shun advice like "Fake it ‘til you make it". It takes TIME and PATIENCE to develop your own style. Always follow your own voice and don't be swayed by what is currently popular, and don't forget to ENJOY it - this is not supposed to feel like work! AAP: What mistake should a young photographer avoid? TD: Becoming an imitation or a copy of another photographer. Being in a hurry to get published or displayed in galleries is another common mistake. Take the time and develop your craft for a few years before you start thinking about sharing it with the world! AAP: Any quotes you would like to share? TD: "I am steadily surprised that there are so many photographers that reject manipulating reality, as if that was wrong. Change reality! If you don't find it, invent it!" - Pete Turner AAP: What current projects are you working on? TD: Nothing I can tell you about, but I will drop a hint and say it involves shattering some commonly held preconceptions about a "marginalized" segment of society. AAP: Your best memory as a photographer? TD: There have been so many, it's hard to choose an absolute best but I will say my first solo show, my first print sale and my first publication were all high points! AAP: Your worst souvenir as a photographer? TD: My broken D50 which gasped it’s last breath 5 clicks into a nude shoot! Or maybe the memory card and external hard drive that I irretrievably lost data from. Here is some more good advice - ALWAYS use an online backup in addition to discs and hard drives! AAP:The compliment that touched you most? TD: When my 92 year old Mother came to my first big gallery show in Atlanta (featuring some very large nude images) and said she was proud of me... AAP: Your favorite photo book? TD: Bob Carlos Clarke's "The Dark Summer" and Helmut Newton's "White Women". AAP: An anecdote? TD: I long ago learned as a model photographer that the crucial things to pack in your camera bag are not extra lenses, filters and light meters, They are instead bobby pins, safety pins, hair ties, insect repellent and sun block. Oh yeah, and a few model releases too! AAP: Anything else you would like to share? TD: Please feel free to "like" my Facebook page and introduce yourself.
Marie Sordat
Marie Sordat
France/Belgium
1976
Born in 1976, franco-belgian, lives and works in Brussels. Since 2004, her work is shown in museums, galeries and festivals around the world, including Germany, Spain, Cambodia, Japan, Mexico, Romania, Georgia, Slovaquia… It has been published in numerous magazines, catalogues and books ( Lannoo Publishers, Filigranes Editions, Halogénure, artist books…), her monography EMPIRE has been published at Editions Yellow Now in 2015. She teaches photography at INSAS, an international belgian cinema school where she gives immersive seminars and organize meetings between famous photographers and students. She is jury for numerous photography schools and workshops teacher. She's also an independant curator, she directed several books, catalogues and exhibitions, as the collective exhibition EYES WILD OPEN for the Botanique Museum in Brussels and the book at André Frère Editions.
Deborah Turbeville
Deborah Turbeville
United States
1938 | † 2013
Deborah Turbeville was born in 1938, in Boston. Summers were spent in Ogunquit, Maine. 'Beautiful Place by the Sea' is the oceanside township's motto. 'Very bleak, very stark, very beautiful,' was Turbeville's description of it. Life was comfortable - she went to private school. Yet her mother described her as a 'shy and scary child'. Which is as it should be. The uneasy shuffle of ambiguity is the essence of Turbeville and her work - which itself shuffles between fashion magazine and art gallery, never fully at peace in either place. Like her near contemporaries, Helmut Newton and Guy Bourdin, she rethought and recast fashion photography in the 1970s. Perhaps even more than those two louche Europeans, though, she injected narrative and mystery into what is, after all, an unabashedly commercial process. Her pictures are as much riddles as they are images. Consciously damaged goods, they are blurry, grainy, tormented into painterly colours, scratched, marked, sellotaped - post-production work often done with her long-term assistant and collaborator Sharon Schuster. 'I destroy the image after I've made it,' said Turbeville. 'Obliterate it a little so you never have it completely there.' It's a quite un-American world, a view through the rear window, fascinated by the beaten, worn and forgotten. She has photographed her own house in Mexico as if she were a time-travelling visitor in her own intimate landscape, slightly drunk in exploration and contemplation of the rooms and their objects - tin retablos, wooden boxes, a painted carving of the Virgin Saint Maria Candelaria. She has photographed old Newport and the lost St Petersburg. One of her books was called 'Les Amoureuses du Temps Passe' - (female) lovers of times past. 'The idea of disintegration is really the core of my work.' When Jackie Onassis commissioned her to photograph the unseen Versailles, the late president's wife urged the photographer to 'evoke the feeling that there were ghosts and memories.' Turbeville began by researching the palace's 'mistresses and discarded mistresses', then photographed not just the palace's grand chambers and vistas but its store rooms and attics. She came to photography late. Arriving in New York at 19, with dreams of a stage career, she worked as a model and assistant to Claire McCardell - the fashion designer who brought wool jersey and denim to the catwalk. She joined Harper's Bazaar in 1963, working with its fashion editor, Marvin Israel, and his crew of photographers which included Diane Arbus, Richard Avedon and Hiro. She took her first pictures in Yugoslavia in 1966. They were blurry. She showed them to Avedon. He liked them, blurs and all. So he taught her technique. In 1972, she became a photographer. Like other adventurous photographers of the era, she worked for Nova magazine. She took some pictures for Vogue of girls in bikinis at a cement works. 'The most revolutionary pictures of the time,' said Conde Nast's editorial director Alexander Liberman. The work that made her name was the 'bathhouse' series she took for American Vogue in 1975 - fashion photographs of barely dressed women, wet and languid, almost kitsch. The oddest thing, though, is the sense that the women are prisoners - of what is not clear, of course. It's been said they look like they're in gas chambers. 'I go into a women's private world, where you never go,' Turbeville said. 'It's a moment frozen in time. I like to hear a clock ticking in my pictures.' If one of photography's most honourable impulses is to subvert - or flee from - the medium's inherent voyeurism, Turbeville collapses this paradox by succumbing to it. Victorian academic paintings presented unclothed women in bathing pools as if the painter were not there - the illusion of pornography. Turbeville's naked, wet women are under no such illusion. They know the photographer is there. They acknowledge her presence. They maybe even watch us, the viewer. The bathouse pictures were collected, with others, in her 1978 book 'Wallflower' - arrestingly and sympathetically designed by her mentor, Israel. In it are all the essentials of her work: a feeling that you are somewhere in the past; a languid, barely sexual sexuality; white, willowy women; distressed prints; a luminous quality; a sense of a narrative interrupted. Yet she's a jobbing photographer, too. She's worked for American Vogue and its British, French, Italian, and Russian counterparts. She's done ads for Ungaro, editorial photographic essays for Harper's Bazaar and portraits of Julia Roberts for the New York Times Magazine. She wears black, mostly. She has reddish hair. She has homes in Mexico, New York and Russia. She teaches in Russia. She's been married at least once. When she lived in Paris, at the turn of the 1980s, she'd rummage through the streets every evening, between 6 and 8 o'clock. 'I'm a voyeur,' she said. (Source: Pete Silverton - www.professionalphotographer.co.uk)
Ralph Steiner
Ralph Steiner
United States
1899 | † 1986
Ralph Steiner was an American photographer, pioneer documentarian and a key figure among avant-garde filmmakers in the 1930s. Born in Cleveland, Steiner studied chemistry at Dartmouth, but in 1921 entered the Clarence H. White School of Modern Photography. White helped Steiner in finding a job at the Manhattan Photogravure Company, and Steiner worked on making photogravure plates of scenes from Robert Flaherty's 1922 Nanook of the North. Not long after, Steiner's work as a freelance photographer in New York began, working mostly in advertising and for publications like Ladies' Home Journal. With fellow graduate Anton Bruehl (1900–1982), in 1925, they opened a studio on 47th Street, producing a narrative series of amusing table-top shots of three cut‑out figures dressed in suits for The New Yorker magazine; advertisements for Weber and Heilbroner menswear in a running weekly series. Their client was wiped out in the Wall Street Crash. Through the encouragement of fellow photographer Paul Strand, Steiner joined the left-of-center Film and Photo League around 1927. He was also to influence the photography of Walker Evans, giving him guidance, technical assistance, and one of his view cameras. Steiner's still photographs are notable for their odd angles, abstraction and sometimes bizarre subject matter; the 1944 image Gypsy Rose Lee and Her Girls is sometimes mistaken for Weegee. His experimental films, however, are considered central to the literature of early American avant-garde cinema, and the influence of Ralph Steiner's visual style continues to assert itself; for example, contemporary avant-garde filmmaker Timoleon Wilkins cites Steiner as an inspiration. In his appreciation of Steiner, author Scott McDonald expands that list to include Dorsky, Andrew Noren, Larry Gottheim and Peter Hutton. The links between the first generation of American avant-garde filmmakers such as Steiner with the second – exemplified by Maya Deren, Stan Brakhage and others – are few, but Steiner is among those who managed to bridge the gap.Source: Wikipedia At the end of the 1960s Steiner relocated to Vermont. After making three more films he devoted himself to photographing clouds for nearly twenty years, primarily on the coast of Maine and in Oaxaca, Mexico. Clouds have been of longstanding interest to painters throughout the history of art. In photography, the subject is often associated with Alfred Stieglitz, who made photographs of clouds entitled Equivalents, believing them to appeal directly to the subconscious mind. Steiner similarly saw the evocative potential in cloud formations, although he felt the meaning of any given image was far more mercurial than his predecessor. Leaving his works deliberately untitled, he invites viewers to use their imaginations and provide their own titles, which, in his estimation, becomes a process of testing out different descriptions and metaphors. In 1985, shortly before his death, Steiner published a book of these studies, In Pursuit of Clouds.Source: MoCP
Vicky Stromee
Vicky Stromee
United States
1950
How I got interested in photography I was immersed in the arts from an early age. My father was an amateur photographer and my mother a painter and pianist. At 8, I got my first Brownie camera and began shooting everything I saw. Watching an image magically emerge from the developing tray in my dad's darkroom; spending afternoons lying under the baby grand piano with waves of sound resonating around and through me; texture, pattern, fluidity, and change - these were my earliest influences, and they continue to unfold in my work. Where I live and my work can be seen I am fortunate to call the Southwest - a place of incredible natural beauty - my home. I have lived in Tucson, AZ since 1975 when I moved here to pursue a master’s degree in Counseling at the University of Arizona. When I retired from a long career in mental health, I turned my attention full time to photography, ultimately finding my niche in photographing natural subjects. More recently I have begun to create photomontages incorporating these natural objects into both abstract images and scenes of imaginary realism. My work hangs in galleries, hospitals, and private and corporate collections throughout the US. It has been featured at the Griffin Museum of Photography, Boston; Waxlander Gallery, Santa Fe; PhotoPlace Gallery, Vermont; A Smith Gallery, Texas; Fotonostrum, Barcelona; and Afterimage Gallery in Dallas. Selected images have representation through Cynthia Byrnes Contemporary Art in New York. What captures my imagination and what I explore in my art I am interested in edges and intersections of transformation where one thing moves inexorably to become something else. When is the moment when love fades into anger and resentment; when disillusionment erupts into a violent uprising, when order descends into chaos? And when is the moment when war turns towards peace; unbearable grief shifts towards acceptance; or when pain gives way to relief? I feel the daily bombardment of stories about conflict and anger towards “otherness.” I’m disturbed by the disintegration of public discourse that has devolved into shouting tropes at one another and refusing to entertain differing points of view while using violence to subjugate and silence others. The cacophony of misinformation drives me into further retreat. I’ve always felt a kinship with Buddhist thought and the concept of nonduality - the belief that there is only one reality that is the summation of all experience. That there is no separation between subject and object; inner self and outer experience; self and other. We are drops in the ocean, interconnected manifestations of spirit. When I am engaged in the act of creation – no longer focused on trying to create, but simply being a conduit – time disappears. I’m following an intuitive process to listen for what comes next. The external chatter recedes, I feel a sense of calm, I feel connected to a deeper flow. Touching into these moments provides a respite and allows me to re-engage in the world with all its seemingly unresolvable conundrums. I make art as much for myself as for others; creating visual meditations is an end in and of itself.
Julia Fullerton-Batten
Julia Fullerton-Batten
Germany
1970
Julia is a world-wide acclaimed and exhibited fine-art photographer. She has had portraits commissioned by the National Portrait Gallery, that are held in permanent collection. She is a winner of the HSBC Fondation pour la Photographie award and a Hasselblad Master. Her images are on the front covers of 'A Guide to Collecting Contemporary Photography' (Thames and Hudson, 2012) and Eyemazing Magazine. She is widely sought after as a judge for adjudicating at prestigious international photographic competitions and as a speaker at international events. The foundation of her success as a fine-art photographer was 'Teenage Stories' (2005), an evocative narrative of the transition of a teenage girl to womanhood. It portrays the different stages and life situations experienced by an adolescent girl as she grapples with the vulnerability of her teenage predicament – adjustments to a new body, her emotional development and changes in her social standing. Her book ‘Teenage Stories’ was published in 2007. This success was followed by other projects illuminating further stages a teenager experiences to becoming a woman - In Between (2009) and Awkward (2011). Julia freely admits to many of her scenes being autobiographical. This was even more so the case with her next project, Mothers and Daughters (2012). Here she based the project on her own experiences in her relationship with her mother, and the effects of her parents’ divorce. Unrequited love – A Testament to Love (2013) – completes Julia’s involvement with the female psyche, illustrating poignantly the struggles experienced by a woman when love goes wrong. Again there is no happy end, the woman is left with the despair of loneliness, loss and resignation. More recently, Julia has shot a series of projects where she has engaged with social issues. Unadorned (2012) takes on the issue of the modern Western society’s over-emphasis on the perfect figure, both female and male. For this project she sourced overweight models and asked them to pose in the nude in front of her camera against a backdrop similar to that of an Old Master’s painting, when voluptuousness was more accepted than it is now. ‘Blind (2013)’ confronts the viewer with a series of sympathetic images and interviews with blind people, some blind from birth, others following illness or an accident. Sight being one of mankind’s essential senses and her career being absolutely dependent on it, Julia hoped to find answers to her own personal situation if she were ever to become blind. Her most recent project, In Service (2014), exposes some of the goings-on behind the walls of the homes of the wealthy during the Edwardian era in the UK (1901 – 1911). Millions of poorer members of society escaped poverty by becoming servants in these homes, where it was not only hard work, but they were often subjected to exploitation and abuse. Julia’s very distinctive style of fine-art photography is epitomized by her use of unusual locations, highly creative settings, street-cast models, and accented with cinematic lighting. She insinuates visual tensions into her images, and imbues them with a hint of mystery, that combine to tease the viewer to re-examine the picture continuously, each time seeing more content and finding a deeper meaning with every viewing. Major events in which she has recently participated include Fotografiska, Stockholm; Noorderlicht, International Festival of Photography, Kristiansund, Norway; Dong Gang Photo festival, Korea; Daegu Photo Biennale, Korea; Museo Thyssen-Bornemisza and Fundacion Caja, Madrid; Pompidou Center, Paris; Shanghai International Photographic Art Exhibition; Hereford Photo Festival; The Museum of Contemporary Art Shanghai (MOCA Shanghai). Guest Speaker - National Geographic Seminar in Washington DC; Fotografiska, Stockholm, and Noorderlicht, Norway.
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Exclusive Interview with Luca Desienna and Laura Estelle Barmwoldt
For over seven years, Of Lilies and Remains has explored the depths of the goth and darkwave underground, unfolding in Leipzig—a city long associated with a vibrant and enduring subcultural scene. Moving between iconic gatherings such as Wave-Gotik-Treffen and more intimate moments on the fringes, the project offers a rare and immersive glimpse into a world often misunderstood, yet rich in expression and community. Created by Luca in collaboration with Laura Estelle Barmwoldt, the work embraces a cinematic and deeply personal approach. Rather than documenting from a distance, it moves within the scene itself, capturing its atmosphere, its codes, and its quiet contradictions. The title Of Lilies and Remains hints at this duality—where beauty and darkness, fragility and strength coexist. As the book prepares for its release, we spoke with both artists about the origins of the project, their process, and what it means to document a subculture that continues to evolve while remaining true to its spirit.
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Exclusive Interview with Matthew Finley
Interview
Exclusive Interview with Matthew Finley
American photographer Matthew Finley turns inward, using photography as a way to explore identity, memory, and emotional truth. Based in Los Angeles, his practice moves between performance, gesture, and found imagery, creating a visual language that is both intimate and deeply personal
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Exclusive Interview with Jan Janssen
Interview
Exclusive Interview with Jan Janssen
Dutch photographer Jan Janssen explores universal human experiences through his long-term project It Matters, winner of the May 2025 Solo Exhibition. Begun in 2016, the series captures intimate moments of everyday life—love, loss, connection, and belonging—across Central and Eastern Europe. Working in countries such as Turkey, Azerbaijan, and Armenia, Janssen spends extended time within communities, building relationships based on trust and respect. His approach allows him to move beyond observation, revealing deeply human and authentic moments. Rooted in travel and personal discovery, It Matters reflects Janssen’s search for what connects us all in an increasingly divided world. The project is ongoing and will culminate in a photobook scheduled for publication in 2026.
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Exclusive Interview with Henk Kosche
Interview
Exclusive Interview with Henk Kosche
German photographer Henk Kosche turns his lens toward the streets of Halle an der Saale, capturing everyday life in the late years of the former German Democratic Republic. At the time, Kosche was studying design and exploring the city with his camera, drawn to the atmosphere of its industrial landscape and the quiet rhythms of daily life. His series Street Photography at the End of the 80s, selected as the Solo Exhibition for July 2025, revisits a body of work created just before a period of profound change. Rediscovered decades later in a small box of 35mm negatives, these photographs offer glimpses of a city and its people at a moment suspended between the familiar and the unknown.
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Exclusive Interview with Anastasia Samoylova
Interview
Exclusive Interview with Anastasia Samoylova
Anastasia Samoylova is an American artist whose photographic practice is shaped by close observation and a deep attentiveness to place. Working between documentary and formal exploration, she photographs landscapes, architecture, and everyday scenes with a sensitivity to light, structure, and atmosphere. Since relocating to Miami in 2016, her work has increasingly focused on how environments—both natural and built—carry social, cultural, and emotional traces. We asked her a few questions about her practice and her way of seeing, to better understand the thoughts and experiences that shape her work—while allowing the images themselves to remain open and speak in their own time.
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Exclusive Interview with Marijn Fidder
Interview
Exclusive Interview with Marijn Fidder
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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Exclusive Interview with Josh S. Rose
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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