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FINAL DAYS TO WIN A SOLO EXHIBITION IN MAY 2026
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Judi Iranyi
Judi Iranyi
Judi Iranyi

Judi Iranyi

Country: Hungary/United States
Birth: 1943

Judi Iranyi was born in Hungary (1943). After World War II, she and her family lived in a displaced persons camp in Germany for a few years before emigrating to Venezuela, where she lived until she finished high school. She has also lived in Trinidad, Barbados, Germany, and Okinawa before moving to San Francisco in 1971.

Ms. Iranyi became interested in photography in the sixties. She earned a BA degree in Art/Photography from San Francisco State University. Later she received an MA degree in Visual Design from U.C. Berkeley; completed a master!s level museum studies program at John F. Kennedy University; and an MSW Degree in Social Work at San Francisco State University.

Ms. Iranyi has worked as a freelance photographer taking environmental portraits. She was also a staff photographer at the Judah L. Magnes Museum in Berkeley and worked at the San Francisco Fine Arts Museums. She also worked as a California Licensed Clinical Social Worker until her retirement.

After retirement, Ms Iranyi dedicated her time to photography. Her work includes portraits, travel photography, documentary, and street photography. Recently she has shifted her emphasis to botanicals and still life photography.

Three of her life passions are traveling, literature, and photography, which have broadened her view of the world.

Flowers for Klara

On the 40th anniversary of my mother’s death, I decided to create a series of floral bouquets to honor her memory.
She had a difficult life, living during WWII, living in displaced peoples’ camps and two emigrations one to Venezuela and then to Germany where she died in her mid fifties after a long illness.

Exclusive Interview with Judi Iranyi and Remembering Michael
 

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John Novis
United Kingdom
1950
John Novis is photographer and story teller working on environmental issues, particularly climate change for the last 30 years. Climate Change is the biggest global threat ever known to mankind, yet it is the most challenging and difficult subject to visualize to any great effect. Any image presented, be it extreme weather events, scientific evidence or global protests can be argued against by a sceptic media, governments and industry. It is precisely this challenge that drives concerned photographers to push ever more creative photos into the image pool to drive home the importance of this emergency of our times. We are getting somewhere thanks to Greta Thunberg and Environmental groups such as Greenpeace, Extinction Rebellion etc. which provide scope for compelling pictures. Social media has also provided a valuable platform for citizen journalism reporting climate related events as they unfold in real time. How I got there I stared my career in photography in London during the 'swinging 60's 'years working with high profile photographers in Vogue, Apple Corp (Beatles), top Fashion and Industrial photo studios Adrian Ensor Labs up until 1977 when I enrolled on a 3 year 'Creative Photography' course in Nottingham University under the guidance of Thomas Joshua Cooper and Raymond Moore. In 1980 I received a grant from UK South East Arts to make a 30 minute, 16mm film called 'Our trip to the Zoo' analysing the family snapshot with the old Kodak slogan – 'to capture life'. Throughout most of the 80's I worked as a freelance commercial photographer and then in 1989 I joined Greenpeace as an in –house photographer where I was employed until 2015. Just before I joined Greenpeace, I was becoming disillusioned with photography as an instrument for advertising and generating profit. It was though Greenpeace I was able to employ my expertise in photography to produce images that would serve as a wake-up call to the critical state of our environment. As photography became more important to the organisation I became Head of Photography at the international headquarters in Amsterdam, directing major photo projects such as: - Ocean and whaling expeditions, Amazon – Illegal logging, Yunnan, China campaigning against the introduction of GMO rice to the rice growing communities, Climate in Crisis - Yellow River drying up, the Disappearing Glaciers on Everest, Climate and Poverty along the Silk Road in Gansu Province, China - Palm oil production in Riau, Indonesia and 'Forest Solutions' global communities living from the forest management towards a sustainable solution. In addition, I have also worked on numerous successful publications including the nuclear industry of Russia with Dutch photographer Robert Knoth, (Panos) and Bhopal – '' with Raghu Rai (Magnum). My professional services outside Greenpeace have included, organizing and hosting the Beijing Photo Master Classes with World Press Photo winners, member of the jury for the 2007 CHIPP (China International Press Photo Contest) and Member of the Jury and visiting lecturer to Fotopub, Slovenia July 2008. Directing a major exhibition and slide show at 1999 Perpignan, Visa Pour L'image with an interview with Jean Francois Leroy on stage. In 2012 I ran a photo workshop and curated a renewable energy exhibition at the Angkor Photo Festival in Siem Reap, Cambodia and was invited as guest speaker for Wild Photos at the Royal Geographic society in 2011. I am currently working on Climate Emergency events and supporting on line publications with consultancy and archive picture material.
Pablo Trilles Farrington
Since I was little I was fascinated by animals, especially wildlife. I loved learning about them, their habits, behaviors, most remarkable characteristics such as size, speed, height, feeding, etc. As I grew up, that passion for wildlife began to fall asleep, giving way to other types of concerns. During my youth, my father gave me his SLR camera with interchangeable objects and taught me the basics of photography. I liked taking photographs of all kinds, from portraits to landscapes. They weren't good pictures, although it amused me. But after a few years, when I lived in my apartment, they broke in and took the photographic equipment. That was the end of my adventure in photography. Many years passed until, on a work trip I had to make to Guatemala, I managed to visit the Mayan ruins of Tikal recommended by my father, which he visited in the past. That trip, in the middle of the jungle and surrounded by wild animals, reawakened in me the passion for wildlife and the adventure of exploring natural places. At the same time, smartphones appeared and with them photography within everyone's reach. So I took pictures again this time with my mobile. The mobile was fitted with mini lenses for macro photography. Then I bought a zoom lens that connected to the mobile via Bluetooth. From there it went to a 70-200 lens connected to the phone, which I took on safari to Kenya and the Corcovado peninsula in Costa Rica. I finally understood that my passion for photography and wildlife justified investing in a mirrorless camera as well as better lenses. Until today I have two cameras and seven lenses that I have been using in my travels through Uganda, UAE, Morocco, Svalbard, etc. Always learning to achieve photographs that transmit and connect with the observer. Although in recent years I have obtained prizes, recognitions and honorable mentions that have sweetened the path, the real prize is the opportunity to live unique experiences and to invest the vital energy in this art called photography.
Aleksander Rodchenko
Russia
1891 | † 1956
Aleksander Rodchenko was a Russian and Soviet artist, sculptor, photographer, and graphic designer who emerged following the Russian Revolution. He was one of the founders of Russian Constructivist and a Productivist artist, married to artist Varvara Stepanova. He began his career as a painter and graphic designer before moving on to photomontage and photography. His photography was socially involved, formally creative, and anti-painting. Concerned about the necessity for analytical-documentary picture series, Aleksander Rodchenko frequently shot his subjects from unusual angles—usually high above or low below—in order to shock the viewer and delay recognition. "One has to shoot several distinct photos of a subject, from diverse points of view and in varied settings, as though one viewed it in the round rather than looking through the same key-hole over and over," he wrote. Only the camera seems to be really capable of describing modern life. -- Aleksander Rodchenko Aleksander Mikhailovich Rodchenko was born in St. Petersburg to a working-class family that relocated to Kazan when his father died in 1909. He became an artist without any prior exposure to the art world, relying mostly on art periodicals for inspiration. Aleksander Rodchenko began studies at the Kazan Art School in 1910, under Nicolai Fechin and Georgii Medvedev, when he met Varvara Stepanova, whom he eventually married. The critic Osip Brik, 1924© Aleksander Rodchenko Following 1914, he continued his artistic education at the Stroganov Institute in Moscow, where he created his first abstract drawings in 1915, influenced by Kazimir Malevich's Suprematism. The following year, he took part in The Store, an exhibition organized by another formative influence, Vladimir Tatlin. Rodchenko's work was influenced heavily by Cubism and Futurism, as well as Malevich's Suprematist compositions, which featured geometric forms deployed against a white background. Aleksander Rodchenko was Tatlin's student and assistant, and the interest in figuration that characterized Rodchenko's early work faded as he experimented with design elements. He created his paintings with a compass and ruler, with the goal of eliminating expressive brushwork. Rodchenko worked for Narkompros and was one of the RABIS organizers. RABIS was founded between 1919 and 1920. In 1920, the Bolshevik government appointed Rodchenko as Director of the Museum Bureau and Purchasing Fund, with responsibility for the reorganization of art schools and museums. He became the secretary of the Moscow Artists' Union, established the Fine Arts Division of the People's Commissariat for Education, and assisted in the establishment of the Institute for Artistic Culture. From 1920 to 1930, he was a teacher at the Higher Technical-Artistic Studios, a Bauhaus organization with a "checkered career." It ceased operations in 1930. In 1921, Aleksander Rodchenko joined the Productivist group, along with Stepanova and Aleksei Gan, to advocate for the incorporation of art into everyday life. He abandoned painting to focus on graphic design for posters, books, and films. He was profoundly influenced by the ideas and practice of filmmaker Dziga Vertov, with whom he collaborated extensively in 1922. Impressed by the German Dadaists' photomontage, Rodchenko began his own experiments in the medium, first using found images in 1923, and then shooting his own photographs from 1924 on. In 1923, his first published photomontage illustrated Mayakovsky's poem About This. Rodchenko created his most famous poster in 1924, an advertisement for the Lengiz Publishing House titled Books, which features a young woman with a cupped hand shouting "Books in all branches of knowledge," printed in modernist typography. Photography has all the rights, and all the merits, necessary for us to turn towards it as the art of our time. -- Aleksander Rodchenko Portrait of the Artist’s Mother, 1924© Aleksander Rodchenko From 1923 to 1928, Rodchenko worked closely with Mayakovsky (of whom he took several portraits) on the design and layout of LEF and Novy LEF, Constructivist artists' publications. Many of his photographs were published in or used as covers for these and other publications. His images were concerned with the placement and movement of objects in space, as well as the elimination of unnecessary detail. During this time, he and Stepanova painted the well-known panels of Moscow's Mosselprom building. Varvara Rodchenko, their daughter, was born in 1925. Rodchenko's work was very abstract throughout the 1920s. He joined the October Group of artists in 1928, but was expelled three years later after being accused of "formalism," an accusation first leveled in the pages of Sovetskoe Foto in 1928. In the 1930s, as the Party's guidelines governing artistic practice shifted in favor of Socialist realism, he focused on sports photography and images of parades and other choreographed movements. In the late 1930s, Aleksander Rodchenko returned to painting, stopped photographing in 1942, and produced abstract expressionist works in the 1940s. Throughout these years, he continued to organize photography exhibitions for the government. In 1956, he died in Moscow.
Doris Ulmann
United States
1882 | † 1934
Doris Ulmann was an American photographer, best known for her portraits of the people of Appalachia, particularly craftsmen and musicians, made between 1928 and 1934. Doris Ulmann was a native of New York City, the daughter of Bernhard and Gertrude (Mass) Ulmann. Educated at the Ethical Culture Fieldston School, a socially liberal organization that championed individual worth regardless of ethnic background or economic condition and Columbia University, she intended to become a teacher of psychology. Her interest in photography was at first a hobby but after 1918 she devoted herself to the art professionally. She practiced Pictorialism and was a member of the Pictorial Photographers of America. Ulmann documented the rural people of the South, particularly the mountain peoples of Appalachia and the Gullahs of the Sea Islands, with a profound respect for her sitters and an ethnographer's eye for culture. Ulmann was trained as a pictorialist and graduated from the Clarence H. White School of Modern Photography. Other students of the school who went on to become notable photographers include Margaret Bourke-White, Anne Brigman, Dorothea Lange, Paul Outerbridge, and Karl Struss. Her work was exhibited in various New York galleries, and published in Theatre Arts Monthly, Mentor, Scribner's Magazine, and Survey Graphic. Ulmann was married for a time to Dr. Charles H. Jaeger, a fellow Pictorialist photographer and an orthopedic surgeon on the staff of Columbia University Medical School and a likely connection for her 1920 Hoeber publication The Faculty of the College of Physicians & Surgeons, Columbia University in the City of New York: Twenty-Four Portraits. This was followed in 1922 by the publication of her Book of Portraits of the Medical Faculty of the Johns Hopkins University; the 1925 A Portrait Gallery of American Editors, and in 1933, Roll, Jordan Roll, the text by Julia Peterkin. The fine art edition of Roll, Jordan Roll is considered to be one of the more beautiful books ever produced. In an interview with Dale Warren of Bookman, Doris Ulmann referred to her particular interest in portraits. "The faces of men and women in the street are probably as interesting as literary faces, but my particular human angle leads me to men and women who write. I am not interested exclusively in literary faces, because I have been more deeply moved by some of my mountaineers than by any literary person. A face that has the marks of having lived intensely, that expresses some phase of life, some dominant quality or intellectual power, constitutes for me an interesting face. For this reason the face of an older person, perhaps not beautiful in the strictest sense, is usually more appealing than the face of a younger person who has scarcely been touched by life." Ulmann's early work includes a series of portraits of prominent intellectuals, artists and writers: William Butler Yeats, John Dewey, Max Eastman, Sinclair Lewis, Lewis Mumford, Joseph Wood Krutch, Martha Graham, Anna Pavlova, Paul Robeson, and Lillian Gish. From 1927, Ulmann was assisted on her rural travels by John Jacob Niles, a musician and folklorist who collected ballads while Ulmann photographed. In 1932 Ulmann began her most important series, assembling documentation of Appalachian folk arts and crafts for Allen Eaton's landmark 1937 book, Handicrafts of the Southern Highlands. In failing health, she collapsed in August 1934 while working near Asheville, North Carolina, and returned to New York. Ulmann died August 28, 1934. Upon Ulmann's death, a foundation she had established took custody of her images. Allen Eaton, John Jacob Niles, Olive Dame Campbell (of the John C. Campbell Folk School in Brasstown, North Carolina), Ulmann's brother-in-law Henry L. Necarsulmer, and Berea schoolteacher Helen Dingman were named trustees. Samuel H. Lifshey, a New York commercial photographer, developed the negatives Ulmann had exposed during her final trip, and then made proof prints from the vast archive of more than 10,000 glass plate negatives. (Lifshey also developed the 2,000 exposed negatives from Ulmann's last expedition, and produced the prints for Eaton's book.) The proof prints were mounted into albums, which were annotated by John Jacob Niles and Allen Eaton, chair of the foundation and another noted folklorist, to indicate names of the sitters and dates of capture. The Georgia Museum of Art at the University of Georgia organized a major retrospective of her work in 2018 and published the largest book on her work to date. The Library of Congress Prints & Photographs Division holds more than 150 photographic prints by Ulmann.Source: Wikipedia
Jared Ragland
United States
1977
Jared Ragland is a fine art and documentary photographer and former White House photo editor. He currently teaches and coordinates exhibitions and community programs in the Department of Art and Art History at the University of Alabama at Birmingham and is at work on a long-term documentary on methamphetamine users living in northeast Alabama. He is the photo editor of National Geographic Books' "The President's Photographer: Fifty Years Inside the Oval Office," and has worked on assignment for NGOs in the Balkans, the former Soviet Bloc, East Africa and Haiti. His photographic work is rooted in his lifelong exposure to the landscapes, people, aesthetics, and storytelling traditions of the American South, and his work has been exhibited internationally and featured by The Oxford American, The New York Times, and TIME Magazine. Jared is an alumni of LaGrange College and a 2003 graduate of Tulane University with an MFA in Photography. He resides in his hometown of Birmingham, Alabama. Statement: The rise in use of methamphetamine across the United States over the last decade has led to increased cultural anxiety about the drug and those who use it, while the general perception of the meth-head is perpetuated by popular television programs and pervasive anti-meth campaigns. These limited representations typically paint one-dimensional, demonized characters whose chronic drug use is epitomized by obsessiveness, paranoia, and monstrous physical side effects. But while there are certainly deleterious consequences to meth use and stereotypes often ring too true, existing cultural narratives too often fall short of more complex, individually considered realities. Photographed over 18 months in collaboration with University of Alabama at Birmingham sociologist Heith Copes, Ph.D., GOOD BAD PEOPLE documents the tumultuous lives of meth users from Sand Mountain, a sandstone plateau in northeast Alabama infamous for extreme poverty, poultry processing plants, Pentecostal snake-handlers, and meth production. The images simultaneously reinforce and undermine assumptions of what it means to be a methamphetamine user and present an intimate look into the lives of those who struggle amidst drug use and diminished social status.
Simon  Moricz-Sabjan
Simon Móricz-Sabján was born in Kiskunhalas, Hungary in 1980. He is an award-winning photojournalist and documentary photographer living in Budapest, Hungary. Since 2016 he is the official photographer of the Hungarian daily business newspaper Világgazdaság and the monthly business magazine Manager Magazin. Between 2003 and 2016 he worked for Népszabadság, the largest Hungarian independent daily political newspaper which was closed down in October 2016. Apart from his job Simon works on personal projects as well, dedicating a lot of time to develop his personal material, working on photo essays for years in some cases. May it be a social issue or just everyday stories, his main focus is the human being and his surroundings. Simon's work has been recognized by many photography awards. He has won first prizes at the China International Press Photo Contest on two occasions, as well as multiple awards from Pictures of the Year International (POYi), NPPA Best of Photojournalism, Prix International de la Photographie, PDN, iPhone Photography Awards, Ringier Photo Award, Kolga Tbilisi Photo Award and FCBarcelona Photo Award. Among other acknowledgments, he won prizes at Hungarian Press Photo competitions on 37 occasions, including two Grand Prizes of the Association of Hungarian Journalists; five Munkácsi Márton Awards for the best collections; three awards for photographers under 30; the best press photographer award; and two Escher Károly Prizes for the best news photo. Three times winner of József Pécsi scholarship (for talented young art photographers), five times winner of NKA scholarship; he won the Budapest Photography Scholarship in 2012, the Népszabadság Grand Prize in 2013, and the Hemző Károly Prize in 2015. His photos have been exhibited in numerous galleries including the Hungarian National Museum; Mai Manó House (Hungarian House of Photography); Kunsthalle Budapest; Robert Capa Contemporary Photography Center; Palace of Arts, Budapest; The Castle Garden Bazaar, Budapest; Kolga Tbilisi Photo, Tbilisi; POYi, Denver; Expo Milano; Art Gallery Ilia Beshkov, Pleven; Archives Museum, Chengdu; Festival Voies Off, Arles; Museu Agbar de les Aigües, Barcelona; Mies, Switzerland; National Museum, Warsaw. He is a founding member of Pictorial Collective, a group of Hungarian photojournalists.
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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
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.
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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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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Winner of AAP Magazine #45 Travels, his series reflects this unique vision—capturing the spirit of place through subtle layers of light, color, and emotion. Whether traveling abroad or observing the rhythms of his own surroundings, Ydeen creates images that feel both grounded and enchanted, inviting viewers into a world where reality and reverie meet.
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