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Darren Lewey
Darren Lewey
Darren Lewey

Darren Lewey

Country: British
Birth: 1968

Darren Lewey (b. 1968 in Hertfordshire, UK) is a photographer based in Morocco. Photography became his passion at school after which he graduated with a BA in Photographic Studies from Derby College in 1992. Drawn to Morocco as a student, he made careers in teaching and television directing before finally settling there in 2010.

Working in projects, his photographs of landscapes and people show a readiness to look for shapes and structures in the former and a quietness of character through his portraits. Focusing on the less spectacular locations, closer to where he lives, Darren is intrigued by offering another photographic vision of the country. One that runs counter to the exotic imagery more usually associated with Morocco.

He has been avidly developing personal projects since 2016 alongside running workshops for clients through his teaching site: Creative Camera.

His first completed project, Salinity, takes a 'topographic' look at the landscapes of small scale salt production. It's due to be published in late 2021.

Websites

creativecamera.online

essaouiraimages.viewbook.com/darren-lewey

 

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More Great Photographers To Discover

Benjamin Dimmitt
Benjamin Dimmitt
United States
Benjamin Dimmitt photographs wetlands and forests using film and a medium format camera. He uses his camera to investigate interdependence, competition, survival and mortality in the natural world. Benjamin was born and raised on the Gulf Coast of Florida. He graduated from Eckerd College in St. Petersburg, FL and also studied at the International Center of Photography in NYC, NY, Santa Fe Photographic Workshop in Santa Fe, NM, Santa Reparata Graphic Arts Centre in Florence, Italy and City and Guild Arts School in London, England. He moved to New York City after college and held an adjunct professor position at the International Center of Photography from 2001-2013. He now lives and works in Asheville, NC and teaches workshops throughout the Southeast. Benjamin's photographs have been exhibited at Museum of Fine Arts, Houston, TX, School of International Center of Photography, NYC, NY, American Academy of Arts & Letters, NYC, NY, Ogden Museum of Southern Art, New Orleans, LA, Griffin Museum, Boston, MA, Florida Museum of Photographic Arts, Tampa, FL, Center for Fine Art Photography, Ft. Collins, CO and Midtown Y Photography Gallery, NYC, NY. In November, 2019, his work will be included in a three person climate change exhibit at Southeast Museum of Photography in Daytona Beach, FL. His work is represented by Clayton Galleries in Tampa, FL and is in the collection of the Museum of Fine Arts, Houston, the American Academy of Arts and Letters, the Florida Museum of Photographic Arts and Eckerd College among many others. Ain't Bad, Architectural Digest, Black & White, Don't Take Pictures, Lenscratch, Oxford American, Orion, Photo District News, The New Yorker Photo Booth and others have featured Benjamin's photographs. He was a finalist in Photolucida's Critical Mass Award in 2014, 2017 and 2018 and in New Orleans Photo Alliance's Clarence John Laughlin Award in 2014 and 2015. An Unflinching Look The Chassahowitzka National Wildlife Refuge is a very fragile, spring-fed estuary on Florida's Gulf Coast, north of Tampa. I was overwhelmed by its lush, primeval beauty on my first visit over 30 years ago and have photographed there extensively since 2004. The dense palm hammocks and hardwood forests were festooned with ferns and orchids and the fresh water creeks were a clear azure. There are other similar estuaries nearby but the Chassahowitzka River and the surrounding wetlands are protected as part of the federal National Wildlife Refuge system and the river itself is designated as an Outstanding Florida Water. Unfortunately, saltwater began creeping up into the spring creeks around 2011. Rising sea levels due to climate change are the primary cause. However, the saltwater intrusion was accelerated when the state water commissioners, appointed by climate change denier and former governor Rick Scott, determined that the wetlands could survive with less fresh water. This new minimum flow policy would allow the state to increase the pumping of fresh water for large-scale inland developments and agricultural interests. The drawdown of fresh water for these lobbyists has taken fresh water away from the aquifer that feeds Chassahowitzka's springs and many others nearby. As the fresh water flow in the estuaries decreased, saltwater advanced upstream and took its place. What had been verdant, semi-tropical forest is now mostly an open plain of grasses relieved by palms and dying hardwood trees. Sabal palms are the most salt tolerant trees in this ecosystem and are the last to expire. This is a widespread phenomenon, occurring all along the Big Bend section of the Gulf coast of Florida. In 2014, I began to photograph in the salt-damaged sawgrass savannas and spring creeks there as a way of reckoning with the ecosystem loss and of understanding what has become of my native Florida. I have narrowed my focus to a small, remote area that I know and love. My intention in bearing witness to this loss has been to portray the ruined landscape with respect, nuance and beauty. To document the progress of the saltwater intrusion, I have re-photographed landscapes that I first photographed as much as 30 years ago. This ruin is the fate of estuaries around the world as sea levels rise. With increasingly fierce storms and extensive flooding along coastal areas, we are reminded that climate change is a certainty and a priority.
Mark Mann
Mark Mann
United States
1970
Mark Mann is a celebrity and advertising photographer. He was born in Glasgow, where he lived until he went to study in the prestigious photographic program at Manchester Polytechnic. Before long, the recent graduate was assisting innovative fashion photographers Nick Knight and Miles Aldridge, learning the ropes and building his own body of work. Three years later, Mark started shooting on his own, relocating to New York City. Mark’s editorial work has appeared in Esquire, Men’s Health, Vibe, Spin, Fortune, Billboard, Parade and Complex, among others. He has shot countless celebrities, including Robert Redford, Michael Douglas, Iggy Pop, Jack Black, the Black Eyed Peas, Jerry Seinfeld, Dave Chappelle, Rihanna, Queen Latifah, Simon Baker, Stevie Wonder, Bradley Cooper, Willie Nelson, Sean Connery, John Hamm and Jennifer Hudson. Mark has amassed a sizable advertising portfolio, as well. His clients run the gamut: Reebok, Adidas, Hennessy, Bombay Sapphire, Pepsi, Gillette, Vitamin Water, NHL, Zumba, Ford, Chrysler and Svedka to name a few. Mark has just completed a yearlong project for Esquire Magazine, The Life of Man. He shot 80 American men ages 1 through 80, to celebrate 80 years of Esquire Magazine. This project took Mark to the White House where he was honored to shoot the sitting president, as well as former President Clinton. He also shot numerous other notable people and celebrities all across the country.Source: www.markmannphoto.com Because so many of Mark Mann’s striking celebrity portraits are taken from just a few feet away, he’s often asked, “Why so close?” “I’m not exactly sure where that idea of getting so close to my subjects came from. The simple answer is that I don’t like to have to shout to talk to people so—over the years—I’ve moved closer and closer. If you’re more than a few feet from someone, the nuances of what you are saying can be lost. And I always try to have a conversation to help make a connection with everyone I am photographing.” He may start out four or five feet away from a subject but “bobs and weaves” or “creeps” (as he terms it) closer to three feet or so while chatting and shooting. “That means the camera can be just 24 inches from a person’s face, or smelling distance,” says Mann. He never uses a tripod because he’s always moving, changing his distance and angles. He also shoots close up because he enjoys shooting wide open, explaining that helps give a "dimension” to his images. “They have a shallow depth of field, but I like that they almost feel three-dimensional,” he says. “There’s another reason I like shooting close,” says Mann. “I just love faces. I love looking at them. I can inspect every detail, every angle of a face when I’m just a few feet from someone as I look through my lens. I could never get that close without the camera in front of me.”Source: PPA
Thierry Camus
Thierry Camus
France
1959
From the black and white film photo lab of my teenage high school to my full-size CANON of today, passing through slides in the 90s and the arrival of digital in the early 2000s : a lifetime with photography as a passion, amateur and self-taught. Over the years, my way of taking pictures matured and I felt like "interpreting" what I was seing, discovering the world and showing it in my own way. Taking pictures meets the need and the secret desire, to leave a trace of this vision and to convey an emotion. Offering my point of view and expressing my uniqueness, this is what being a photographer means to me. ARCHITECTURAL photography fascinates me and the city is my inexhaustible source of inspiration, the URBAN BODY. It’s not the building itself that interests me, but its LINES and COLORS, as shown by my first serie "my LINES on BLUE" and "STRICTLY LINE". Then architectural photography became URBAN LANDSCAPE, mixing stone and urban objets, always without human pesence, to forget scale and remain abstract. That brought me to my serie "STRICTLY COLOR". « Locked up at home » during the first confinement, I discovered that natural light could create interesting shadows and reflections on my everyday objects surrounding me. It was giving them poeetry and even sensuality, and a real architectural spirit … I created my last series "at HOME" and "my POETRY of the ORDINARY". Always the same thread : LINES and COLORS. Exterior or interior architecture, with details taken out of their context, with frontal, tight and minimalist framings, and unusual angle views, all references are lost. My images become almost unreal and theatrical, in order to exacerbate strength, materiality, power and sometimes violence of buildings and objects. Playing with geometry and shapes being drawn by colors, they are highly graphic. I like that « decisive moment » when I look for the photo, find it, integrate it, then shoot it and, last but not least, interpret and finalize it. I am happy to share this work.
Karl Struss
Karl Struss
United States
1886 | † 1921
Karl Struss, was a notable figure in American visual arts, renowned for his contributions as both a photographer and a cinematographer spanning from the early 1900s to the 1950s. Notably, he played a significant role in the advancement of 3-D filmmaking techniques during his career. His portfolio boasts a diverse range of projects, including iconic films like F.W. Murnau's Sunrise: A Song of Two Humans and Charlie Chaplin's The Great Dictator and Limelight. Beyond his cinematic endeavors, Struss also lent his expertise to television productions, notably serving as a cinematographer for the series Broken Arrow and capturing the essence of 19 episodes of My Friend Flicka through his lens. Born in New York City in 1886, Karl Struss's early life took an unexpected turn when an illness sidelined him from high school. His father, Henry, made the decision to withdraw him from formal education, placing him as a labor operator at Seybel & Struss bonnet wire factory. However, this diversion ignited a passion within Karl for photography. He delved into the craft, experimenting with an 8x10 camera and immersing himself in the art through Clarence H. White's evening photography course at Teachers College, Columbia University, starting in 1908 and concluding in 1912. During his formative years of study, Struss's fascination with camera lenses led him to invent the Struss Pictorial Lens in 1909, which he aimed to patent as a soft-focus lens. This innovation garnered attention and popularity among pictorial photographers of the era, ultimately becoming the first soft-focus lens embraced by the motion picture industry in 1916. Struss's breakthrough in the world of photography came when Alfred Stieglitz selected 12 of his pictorial works for the Albright Art Gallery International Exhibition of Pictorial Photography in 1910, marking the culmination of the Photo-Secession movement. His reputation continued to flourish, as evidenced by his inclusion in the prestigious exhibition "What the Camera Does in the Hand of the Artist" at the Newark Art Museum in April 1911. This success led to an invitation from Teacher's College for Struss to curate a solo exhibition showcasing his depictions of New York City and to temporarily assume teaching responsibilities for White's course during the summer of 1912. Further recognition came when Stieglitz invited Struss to join the Photo-Secession in 1912, facilitating the publication of his work in the group's magazine, Camera Work. In 1913, Struss collaborated with Edward Dickson, Clarence White, Alvin Langdon Coburn, and Paul Anderson to establish Platinum Print, a publication aimed at promoting photographic artistry. By 1914, Struss fully embraced his identity as a professional photographer, resigning from the family business and taking over Clarence White's former studio space, marking a pivotal moment in his career trajectory. At the suggestion of Coburn, Struss took the initiative to submit prints to the American Invitational Section of the Royal Photographic Society's annual exhibition in London, marking the beginning of a recurring practice that would extend well into the 1920s. Alongside this, he actively participated in various exhibitions organized by photography clubs and associations, such as the Pittsburgh Salon of National Photographic Art and the annual photography showcase hosted by the Philadelphia department store Wanamaker's. While engaging in these exhibitions and handling specialized commissions, Struss concurrently pursued commercial photography for esteemed magazines like Vogue, Vanity Fair, and Harper's Bazaar. It's noteworthy that he maintained a distinction, adamantly asserting that his work didn't fall under the category of fashion photography. However, the trajectory of his photographic career was interrupted by the outbreak of World War I. In 1917, he fulfilled his patriotic duty by registering for the draft and subsequently enlisting with the intention of serving his country through photography. Initially trained for aerial photography instruction, Struss encountered complications when his German connections came under scrutiny by the Military Intelligence Department. This led to his demotion from sergeant to private and a period of confinement in Ithaca, New York, where he was originally stationed to teach at the School of Military Aeronautics. Eventually, he was transferred to Fort Leavenworth, where his duties shifted to serving as a prison guard and later as a file clerk. In this latter role, he reignited his passion for photography, documenting the lives of the prisoners. Towards the end of the war, in a bid to dispel any lingering suspicions of anti-American sentiment, Struss sought to clear his name by applying and being accepted into Officer's Training Camp, attaining the rank of corporal. Despite receiving an honorable discharge eventually, the fallout from the military investigation likely left him hesitant to resume his previous endeavors in New York, as many of his professional relationships had been strained or fractured as a result. In 1919, following his military discharge, he relocated to Los Angeles, where he secured a position as a cameraman under Cecil B. DeMille's direction. His first assignment was on the set of the film For Better, For Worse, featuring Gloria Swanson, which paved the way for subsequent collaborations on projects like Male and Female. This successful partnership led to a lucrative two-year contract with the studio. Early in 1921, Struss tied the knot with Ethel Wall, whose support enabled him to pursue independent photographic ventures alongside his studio obligations, notably capturing scenic views across California. Throughout the 1920s, his cinematic expertise graced notable productions including Ben-Hur and F.W. Murnau's Sunrise: A Song of Two Humans. By 1927, he transitioned to United Artists, collaborating with luminaries such as D.W. Griffith on projects like Drums of Love and pioneering Mary Pickford's inaugural sound film, Coquette. Continuously innovative, Struss delved into experimental camera technology, inventing the "Lupe Light" and devising a novel bracket system for the Bell & Howell camera. From 1931 to 1945, Struss contributed his talents as a cameraman to Paramount, engaging in diverse projects featuring prominent figures like Mae West, Bing Crosby, and Dorothy Lamour. He also made significant contributions to the field through his written work, exemplified by his 1934 article "Photographic Modernism and the Cinematographer" published in American Cinematographer. Recognized for his expertise, he gained membership in esteemed organizations such as the American Society of Cinematographers and played a pivotal role as a founding member of the Academy of Motion Picture Arts. In 1949, while working independently, Struss embarked on pioneering endeavors in stereo cinematography, positioning himself as a trailblazer in this emerging art form. Regrettably, most of his 3-D film ventures took place overseas in Italy, with none of his productions receiving 3-D releases in the United States. In addition to his illustrious career in photography and cinematography, Struss pursued a passion for philately, particularly focusing on the inaugural transpacific airmail flights. He meticulously crafted commemorative covers for significant events such as the first San Francisco to Honolulu flight in November 1935, showcasing his dedication to this specialized hobby. His personal collection, including exhibition prints, film stills, negatives, and papers, is housed at the Amon Carter Museum of American Art in Fort Worth, Texas.
Erin Mahoney
Erin Mahoney
United States
"I am a photographic educator and fine art photographer interested in creating photography through digital capture and historical photographic printing processes. I currently teach photography courses in San Francisco, CA."
Jizhou Tang
Jizhou Tang
China
2001
Jizhou (Colin) Tang is a photographer from Shenzhen, China, currently studying at William & Mary in Virginia. While majoring in Computer Science and minoring in Arts & Art History, Jizhou's work delves into personal growth and the experiences of life as a young Chinese immigrant in the United States. His photography spans landscapes and portraits, capturing both the vastness of nature and the intricacies of human expression. In his final year, under the mentorship of Professor Eliot Dudik, Jizhou is deepening his expertise in Darkroom techniques and film photography.
Martin Munkácsi
Martin Munkácsi
Hungary
1896 | † 1963
Martin Munkácsi (born Mermelstein Márton; Kolozsvár, Hungary, May 18, 1896; died July 13, 1963, New York, NY) was a Hungarian photographer who worked in Germany (1928–34) and the United States, where he was based in New York City. Munkácsi was a newspaper writer and photographer in Hungary, specializing in sports. At the time, sports action photography could only be done in bright light outdoors. Munkácsi's innovation was to make sports photographs as meticulously composed action photographs, which required both artistic and technical skill. Munkácsi's legendary big break was to happen upon a fatal brawl, which he photographed. Those photos affected the outcome of the trial of the accused killer, and gave Munkácsi considerable notoriety. That notoriety helped him get a job in Berlin in 1928, for the Berliner Illustrirte Zeitung, where his first published photo was a race car splashing its way through a puddle. He also worked for the fashion magazine Die Dame. More than just sports and fashion, he photographed Berliners, rich and poor, in all their activities. He traveled to Turkey, Sicily, Egypt, London, New York, and famously Liberia, for photo spreads in the Berliner Illustrirte Zeitung. The speed of the modern age and the excitement of new photographic viewpoints enthralled him, especially flying. There are aerial photographs; there are air-to-air photographs of a flying school for women; there are photographs from a Zeppelin, including the ones on his trip to Brazil, where he crosses over a boat whose passengers wave to the airship above. On March 21, 1933, he photographed the fateful Day of Potsdam, when the aged President Paul von Hindenburg handed Germany over to Adolf Hitler. On assignment for the Berliner Illustrirte Zeitung, he photographed Hitler's inner circle, although he was a Jewish foreigner. In 1934, the Nazis nationalized the Berliner Illustrirte Zeitung, fired its Jewish editor-in-chief, Kurt Korff, and replaced its innovative photography with pictures of German troops. Munkácsi left for New York, where he signed on, for a substantial $100,000, with Harper's Bazaar, a top fashion magazine. In a change from usual practice, he often left the studio to shoot outdoors, on the beach, on farms and fields, at an airport. He produced one of the first articles in a popular magazine to be illustrated with nude photographs. His portraits include Katharine Hepburn, Leslie Howard, Jean Harlow, Joan Crawford, Jane Russell, Louis Armstrong, and the definitive dance photograph of Fred Astaire. Munkácsi died in poverty and controversy. Several universities and museums declined to accept his archives, and they were scattered around the world. Berlin's Ullstein Archives and Hamburg's F. C. Gundlach collection are home to two of the largest collections of Munkácsi's work.Source: Wikipedia
Patricia McElroy
Patricia McElroy
United States
Patricia McElroy was born in Philadelphia and raised in Ireland, a duality that continues to shape both her life and work. After graduating from the National College of Art & Design in Dublin, she returned to the U.S., where she and her husband built a successful design business. While her career has moved fluidly between art, design, and entrepreneurship, photography has remained her most personal and enduring form of expression—a way to explore themes of memory, place, identity, and belonging. Between Then & Now Six years ago, McElroy’s 94-year-old mother came from Ireland for what was meant to be a short visit. Her deteriorating eyesight and dementia made it clear she could no longer live on her own and a new chapter quietly began for them both. At first, McElroy picked up her camera as a way to hold onto the mother she knew, but what started as a gesture of preservation soon became something more—a quiet reflection on how memory drifts, resurfaces, and reshapes itself over time. In many ways, her mother exists in both places even now—her memories drifting between both lands, echoing the family’s own migration story. McElroy realized that migration doesn’t just alter geography—it reshapes how we remember and where we feel we belong. Distance doesn’t erase the past, but reframes it, softening some details and sharpening others. This led McElroy to examine her own immigrant experience, using her mother’s life and their shared generational story as a lens to explore the complexities of memory, migration, cultural identity, family, and home. In doing so, she recognized that her past and present photographic work had long been rooted in these themes. Her growing archive—both personal and inherited—became part of the exploration, revealing a continuity in her artistic voice that had always been quietly present. For McElroy, immigration has never been a single moment, but a rhythm—an ongoing dance between two places, two cultures, and two selves. Her family has long carried two homes in their hearts, navigating the layered contradictions of belonging. Ireland is where their roots run deep, where legacy is woven into the land; America is where reinvention lives, where possibility expands. Over time, the boundary between the two became less defined—not a point of conflict, but a quiet acceptance of a life shaped by both. McElroy captures the fragile space where cultural and emotional threads bind past to present. Her images speak to love, loss, resilience, and the ways migration and remembrance shape who we are and where we feel we belong. In telling her own family’s story, she’s also telling a more universal story—of beauty found, and life lived fully in the journey Between Then & Now.
Richard Steinheimer
Richard Steinheimer
United States
1929 | † 2011
Richard Steinheimer (1929-2011) is considered to be among the greatest American railroad photographers. A pioneer in the field, he documented the railroad's transition from steam to diesel power, using elaborate lighting equipment to photograph by night and even positioning himself atop moving trains to capture them in motion. His appreciation for the American railroad and the landscape of the American West is immediately apparent in his exceptional body of work. Richard Steinheimer was born in Chicago in 1929. In 1939, when his family moved to Glendale, California, their house was located near the Southern Pacific main line. In 1945, he began photographing with a Kodak Brownie camera, and two years later began to work with a medium-format Speed Graphic camera, with which he created some of the most beautiful night photographs of railroads ever made. He attended San Francisco City College and from 1956 to 1962 worked as a photojournalist on staff of the Marin Independent Journal. In 1963, his book Backwoods Railroad of the West was published and eventually became one of the most collectible railroad books. His work has been published in Trains Magazine, Railfan, Locomotive & Railway Preservation, Vintage Rail, and numerous books. Richard Steinheimer passed away on May 4, 2011. Source: Robert Mann Gallery
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Latest Interviews

Exclusive Interview with Susan Anthony
Interview
Exclusive Interview with Susan Anthony
American photographer Susan Anthony brings a painter’s eye to documentary photography, creating nuanced portraits of people and places shaped by time, community, and tradition. Her work is rooted in observation, empathy, and a deep curiosity about the lives of others. Through long-term projects, she explores the relationship between individuals and the environments they inhabit, revealing the stories that connect people to a place and to one another.
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Exclusive Interview with Carole Mills Noronha
Interview
Exclusive Interview with Carole Mills Noronha
Carole Mills Noronha is an Australian photographer whose deeply personal work explores memory, family, loss, and the fragile nature of identity. Living with epilepsy and a lifelong sensitivity to light, she has developed a distinctive photographic language rooted in observation, empathy, and emotional connection. Her images are shaped by lived experience, revealing intimate stories with remarkable honesty and tenderness.
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Exclusive Interview with Trevor Cole: Pastoral Peoples and Practices
Interview
Exclusive Interview with Trevor Cole: Pastoral Peoples and Practices
For this interview, we wanted to focus specifically on The Face of the Mundari and the wider Pastoral Peoples and Practices series. We spoke with Trevor about his long-term work among the Mundari, what continues to draw him back to their cattle camps, and the experience of documenting a culture whose identity remains deeply connected to livestock, tradition, and the natural environment.
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Exclusive Interview with Frank Meo
Interview
Exclusive Interview with Frank Meo
In our latest exclusive feature for All About Photo, I speak with veteran photography representative Frank Meo about what it truly takes to build a sustainable creative career today. Frank brings decades of experience working with Fortune 500 companies, major agencies, and documentary photographers to the table. We dive into the critical business skills often left out of art school curriculums, the power of mentorship, and the inspiring evolution of PROJECTIONS—his international salon platform for visual storytellers. It’s an essential read for anyone navigating the commercial or editorial photography landscape today.
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Exclusive Interview with Carolyn Moore
Interview
Exclusive Interview with Carolyn Moore
American photographer Carolyn Moore explores the inner landscape of emotion, memory, and personal transformation through a deeply intuitive photographic practice. Her work unfolds as a quiet dialogue between artist and viewer, where images become a space for reflection, vulnerability, and connection.
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Exclusive Interview with Luca Desienna and Laura Estelle Barmwoldt
Interview
Publication
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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