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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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Javier Arcenillas
Javier Arcenillas
Spain
1973
Photographer and Photoeditor. Graduate in Evolutionary Psychologist by the Complutense University Profesor in the documentary school area PICA. His essays and photography are conceived in pillars that explore PsychoSociology in the helplessness and fragility of the individual in today's society and in the perception of the imaginary territory as an element of reflection. Won prizes, including European Social Fund Grant, Euro Press of Fujifilm, FotoPress, UNICEF, Sony World Photography, POYI, POYILatam, Fotoevidence, Gomma Grant, Eugene Smith Grant, Getty Images Grant, PDN, World Press Photo, Lucas Dolega. In 2013 entered the dictionary of Spanish photographers. It has 5 books published, "City Hope" on the satellite cities that populate the landfills of Latin America, "Welcome" that tells the story of the Rohingya refugees of Myanmar in the Kutupalong camp and Sicarios, UFOPRESENCES in 2018. In the year 2016 La Fabrica publishes a Photobolsillo within the Photographers Spanish collection. In 2024 he published his book LATIDOAMERICA on violence in Central America His most complete news articles outside Spain can be read in Time, CNN, IL Magazine, Leica Magazine, Der Spiegel, Stern, Esquire, GEO, El Mundo, PAPEL, VICE News, L´Expresso, Zazpika, Primera Linea, El País Semanal, Planeta Futuro, Libero, Gatopardo, El Confidencial, El periódico de Guatemala as most important magazines. LATIDOAMERICA Latidoamerica is a Photojournalistic Research project that describes and analyzes violence in Central America, one of the most dangerous places in the world, documenting the direct consequences of violence. Mired in revolutions, dictatorships, genocides, wars or political lack of control inherited in each country, these societies use the fear learned in their worst years to live daily with death and crime in each city. This legacy that left so much death has transformed the way of thinking and acting in the area. Today, a large part of its citizens live with fear and insecurity of certain death by firearm, rape, assault, extortion, kidnapping and murder. Since the end of hostilities in countries like El Salvador, young people who emigrated due to the United States war returned as soldiers from the streets with new laws and regulations. The gangs known as “Maras” are responsible for the fear in which they live because they have sown bloodshed any attempt at peaceful democratic socialization and have led the country into a new undeclared war in which Salvadorans are the victims. Similar circumstances in Guatemala where after years of dictatorship, genocide and death, professions like Sicario end up seducing the poorest young people because of the fear and respect they instill. The hitman recruits teenagers attracted by quick money. Their main game is fear and their job is intimidation and death. To 'graduate', these hitmen murder a person on the condition that the situation involves risk. But it is not the only problem, in these countries without war where deaths from violence occur every hour, their social portrait is the most terrifying place in the world according to the United Nations. In Honduras, its geographical value is a transit point for drug trafficking, a constant fight by drug cartels, a country that does not generate social policies. It's the heartbeat of America. All About Photo Competitions All About Photo Awards 2018 All About Photo Awards 2021 All About Photo Awards 2022 All About Photo Awards 2026
Igor Gladkov
Igor Gladkov
Russia
1985
Igor graduated from the Yekaterinburg State Theatre Institute in 2014. He produces video art, documentaries, and street photography. In 2020 and 2022, Igor won Goethe-Institut grants for documentary projects. From 2021 to 2022, he studied at the Mikhalkov Academy of Cinematographic and Theatre Arts. Igor Gladkov lives and works in Los Angeles. AAP Magazine: AAP Magazine 52 Street
Kamil Vojnar
Kamil Vojnar
Czech Republic
1962
Kamil Vojnar was born in the former Czechoslovakia in 1962. He studied at the School of Graphic Arts in Prague and began his career as a Graphic Designer. He left the country illegally (still Communist at the time) and moved to Vienna, and then eventually became a US citizen and finished his studies at the Art Institute of Philadelphia. He continued his career in Graphic Design which later led to illustration and imagery based on photography, working mostly for book and music publishing houses in New York City. At the same time, he continued to make his own imagery. After meeting his partner and having children, going back and forth between France and New York, they finally settled in St. Remy de Provence in South France where Vojnar has concentrated on his own work since 2005. He opened up an Atelier in St. Remy and then one in Paris in 2009, both of which carry his own work.His work consists of images digitally layered from many different photographs and textures. They are mixed-media archival prints on fine art paper or mounted on canvas. Some of his images are layered pictures printed on semitransparent Thai paper. These unique photomontages are then varnished with oil and wax, and on occasion painted with oil paints. Kamil, as a painter, points out, “In a painting, you can paint anything you want. In the photographic [medium], it must, on some level, exist first. That tension between what exists and what is made up is what interests me.” Thus, his images are often subject to very different interpretations (Source: Verve Gallery) About ElsewhereWell, … why … why "e l s e w h e r e"…?Because, … not really here, because not there or … over there, because … somewhere else, … "e l s e w h e r e"!!!In thousand years old small town in south France, I have little studio, tiny Gallery, up on the main street.People from all around the world come to this town. They walk it's ancient streets. Some see my place, some walk in and look around.And they ask … why, … the sky outside is blue, … the buildings ochre yellow, the olive trees pale green, … why are those pictures musty, sepia, dark. Why is their soul heavy? What happened? What has happened to me!And I say … I don't know, … they come to me that way. They are not really from here, they are not so much from there. They arrive from ..."elsewhere". I am just a pair of hands making them happen.I didn't look for them, I didn't choose them. They came to me, … they choose me!Artist? No. … Common' I am no Artist! I just make those little pictures. Just because they happen to me.And because … I cannot do anything else. I cannot do anything else, at least, until every last of them is out, … done.Just a pair of hands I am. Always struggling to let the image out. Always behind in my ability to execute on the paper what pours from ..."elsewhere", via my mind, my heart.It feels like, … really I have no personal connection to those pictures. I am not guilty.Don't ask me what they are, … what they mean. I don't know.Like orphaned kids, I collect them, feed them to grow.They have to be done. They have to get out there.If not me, … then who?Some are easy. Impatiently they bursting out into the openOthers play hide and seek. They leave a hint, they take me all over wrong paths, all around. They let me sweat, they let me freeze. They drag me through dry, dusty deserts, soak me in deepest seas. My shirt is bloody. My face is wet. Sometimes … sometimes I cry. Pure impossibility overwhelms me. Impossibility to make them happen as they appear to me. In their translucent light, through the tears, I see them, … I almost see them.No, I am no Artist. I just … I am just trying to do, … what I … almost … see.Yes, it's true! … I am making one picture over and over again.The same sofa, the same dress, the same image of Jesus on the wall in the background, as I have had throughout my childhood.Wings? … Yes, sometimes, there are wings. But those who carry them, they are no angels.They just want to be free. Pair of wings is like a passport to get away. To get to … elsewhere.E l s e w h e r e, … they say, it's not the destination, it's the journey, that counts.Therefore my little pictures are the humble documentation of that journey.They are the journey!Journey to … e l s e w h e r e!
Marie Sueur
Marie Sueur
France
1979
Born in 1979, Marie Sueur experienced a nomadic childhood. Her sister was born in Chad, her brother in Morocco, and she herself in Cameroon. These multicultural beginnings awakened in her a taste for discovery, encounters, and the unexpected ; nourishing both her imagination and her passion for storytelling. She now lives and works in Paris. Self-taught, Sueur uses photography to explore emotions, the unconscious, and subjects that are, by nature, elusive. Her work does not seek to deliver a strict representation of reality, but rather to suggest what lies beneath the visible : the poetic, the metaphorical, the mysterious. Experimentation is at the heart of her practice, which could be described as that of a “visual artist.” She often feels compelled to introduce physical éléments (embroidery, cardboard, ink…) perhaps as a way of lending greater materiality to works whose very subjects remain intangible. Her photographs have been exhibited in Paris, Arles, Aix-en-Provence, London, and Athens. In 2025, she was named Fine Art Photographer of the Year (non-professional) at the IPA International Photography Awards. She is also a finalist for the QPN Quinzaine Photographique de Nantes and the VIF Vincennes Image Festival Grand Prize. Statement "In a world that watches, analyzes, measures, and controls everything, I am fascinated by what still escapes all forms of control. Among these untamed territories where our instinctive desire for freedom remains unconstrained: the unconscious , a vast continent of ambiguities and vertigo, whispering its truths in the language of symbols and dreams. I wanted to explore this inner space where reason gives way, where the instinctive, the impulsive, the chaotic reclaim their place. These are territories where words falter and images take over. A visual wandering made up of fragments of memory, blurred intuitions, silent revolts , attempts not to grasp a fixed truth, but to capture a vibration, a breath, a fragile light at the heart of our most secret parts. This project is an invitation to feel what within us longs to break free: from imposed limits, from imprisoning gazes, from the frameworks that confine us. Through these sensitive projections, it is perception itself that trembles: what we believe we desire, what we repress, what draws us inward without our knowing. And what if this were the ultimate freedom? A space where nothing is decided, where nothing is controlled. An indomitable place where we stop appearing and simply exist: confused, incoherent, alive." Awarded Photographer of the Week - Week 39, 2025
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Ed Sievers
United States
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Ed Sievers was born in 1932 in St. Louis, MO, the son of a family doctor that made house calls and an aspiring opera singer. He attended Grinnell College, graduating with a degree in Speech in 1954. His first job was as a creative writer for Hallmark Cards. The slogans he penned were notable for the wry wit and wisdom with which he commented on the human condition. At the same time, his interest in the arts was expanding from the literary to the visual, and would ultimately lead him in a new direction. In 1966 he was accepted into the MFA program at the Rhode Island School of Design to study photography with Harry Callahan. Upon graduation in 1968 he joined the faculty of California State University, Northridge, as a specialist in fine art photography. He took up residence in the Carlton Hotel in Venice Beach and soon realized he had walked into a street photographer's dream. Originally designed as a resort community modeled after its Italian namesake, Venice had fallen on hard times. Buildings were in disrepair and rents were cheap. Influenced by the Bohemian lifestyle of its poets, artists, students and a struggling lower class, the boardwalk suddenly sprang to life. There were musicians, dancers, jugglers, mimes, magicians, comedians, roller skaters, fortune tellers, gritty street people and colorful hippies. And, of course, there was the sprawling nude beach. Throngs of gapers flocked from throughout Southern California to enjoy the expressive spirit of the moment. But that was only on weekends. A quieter, more sensitive mood prevailed during the week. The gentle gestures of holocaust survivors at the Israel Levin Center. The recovering alcoholics quietly heading home after Al-Anon meetings. The homeless searching for food and drink. The once cheerful cottages longing for attention. The iconic murals. The myopic murals. The motions of a people not sure of what lay ahead. Within a decade the Venice that Ed knew had been swallowed up by rampant commercialism and the inexorable influx of the nouveau riche. Upon his death in 2002, the Edwin R. Sievers Memorial Award was established to share his vision with future students; "His approach to photography was straight forward: use the nuances of available light to enhance the subject, whatever that may be: ordinary, quirky, or sublime." Source: Robert Mann Gallery
William Eggleston
William Eggleston
United States
1939
William Eggleston was born in Memphis, Tennessee and raised in Sumner, Mississippi. His father was an engineer and his mother was the daughter of a prominent local judge. As a boy, Eggleston was introverted; he enjoyed playing the piano, drawing, and working with electronics. From an early age, he was also drawn to visual media, and reportedly enjoyed buying postcards and cutting out pictures from magazines. At the age of 15, Eggleston was sent to the Webb School, a boarding establishment. Eggleston later recalled few fond memories of the school, telling a reporter, "It had a kind of Spartan routine to 'build character'. I never knew what that was supposed to mean. It was so callous and dumb. It was the kind of place where it was considered effeminate to like music and painting." Eggleston was unusual among his peers in eschewing the traditional Southern male pursuits of hunting and sports, in favor of artistic pursuits and observation of the world. Nevertheless, Eggleston noted that he never felt like an outsider. "I never had the feeling that I didn't fit in," he told a reporter, "But probably I didn't." Eggleston attended Vanderbilt University for a year, Delta State College for a semester, and the University of Mississippi for about five years, but did not complete any degree. Nonetheless, his interest in photography took root when a friend at Vanderbilt gave Eggleston a Leica camera. He was introduced to abstract expressionism at Ole Miss by visiting painter Tom Young. Eggleston's early photographic efforts were inspired by the work of Swiss-born photographer Robert Frank, and by French photographer Henri Cartier-Bresson's book, The Decisive Moment. Eggleston later recalled that the book was "the first serious book I found, from many awful books...I didn't understand it a bit, and then it sank in, and I realized, my God, this is a great one." First photographing in black-and-white, Eggleston began experimenting with color in 1965 and 1966 after being introduced to the medium by William Christenberry. Color transparency film became his dominant medium in the later 1960s. Eggleston's development as a photographer seems to have taken place in relative isolation from other artists. In an interview, John Szarkowski describes his first encounter with the young Eggleston in 1969 as being "absolutely out of the blue". After reviewing Eggleston's work (which he recalled as a suitcase full of "drugstore" color prints) Szarkowski prevailed upon the Photography Committee of MoMA to buy one of Eggleston's photographs. In 1970, Eggleston's friend William Christenberry introduced him to Walter Hopps, director of Washington, D.C.'s Corcoran Gallery. Hopps later reported being "stunned" by Eggleston's work: "I had never seen anything like it." Eggleston taught at Harvard in 1973 and 1974, and it was during these years that he discovered dye-transfer printing; he was examining the price list of a photographic lab in Chicago when he read about the process. As Eggleston later recalled: "It advertised 'from the cheapest to the ultimate print.' The ultimate print was a dye-transfer. I went straight up there to look and everything I saw was commercial work like pictures of cigarette packs or perfume bottles but the colour saturation and the quality of the ink was overwhelming. I couldn't wait to see what a plain Eggleston picture would look like with the same process. Every photograph I subsequently printed with the process seemed fantastic and each one seemed better than the previous one." The dye-transfer process resulted in some of Eggleston's most striking and famous work, such as his 1973 photograph entitled The Red Ceiling, of which Eggleston said, "The Red Ceiling is so powerful, that in fact I've never seen it reproduced on the page to my satisfaction. When you look at the dye it is like red blood that's wet on the wall.... A little red is usually enough, but to work with an entire red surface was a challenge." At Harvard, Eggleston prepared his first portfolio, entitled 14 Pictures (1974). Eggleston's work was exhibited at MoMA in 1976. Although this was over three decades after MoMa had mounted a solo exhibition of color photographs by Eliot Porter, and a decade after MoMA had exhibited color photographs by Ernst Haas, the tale that the Eggleston exhibition was MoMA's first exhibition of color photography is frequently repeated, and the 1976 show is regarded as a watershed moment in the history of photography, by marking "the acceptance of colour photography by the highest validating institution" (in the words of Mark Holborn). Around the time of his 1976 MoMA exhibition, Eggleston was introduced to Viva, the Andy Warhol "superstar", with whom he began a long relationship. During this period Eggleston became familiar with Andy Warhol's circle, a connection that may have helped foster Eggleston's idea of the "democratic camera", Mark Holborn suggests. Also in the 1970s Eggleston experimented with video, producing several hours of roughly edited footage Eggleston calls Stranded in Canton. Writer Richard Woodward, who has viewed the footage, likens it to a "demented home movie", mixing tender shots of his children at home with shots of drunken parties, public urination and a man biting off a chicken's head before a cheering crowd in New Orleans. Woodward suggests that the film is reflective of Eggleston's "fearless naturalism—a belief that by looking patiently at what others ignore or look away from, interesting things can be seen." Eggleston's published books and portfolios include Los Alamos (completed in 1974, but published much later), William Eggleston's Guide (the catalog of the 1976 MoMa exhibit), the massive Election Eve (1977; a portfolio of photographs taken around Plains, Georgia, the rural seat of Jimmy Carter before the 1976 presidential election), The Morals of Vision (1978), Flowers (1978), Wedgwood Blue (1979), Seven (1979), Troubled Waters (1980), The Louisiana Project (1980), William Eggleston's Graceland (1984; a series of commissioned photographs of Elvis Presley's Graceland, depicting the singer's home as an airless, windowless tomb in custom-made bad taste), The Democratic Forest (1989), Faulkner's Mississippi (1990), and Ancient and Modern(1992). Some of his early series have not been shown until the late 2000s. The Nightclub Portraits (1973), a series of large black-and-white portraits in bars and clubs around Memphis was, for the most part, not shown until 2005. Lost and Found, part of Eggleston's Los Alamos series, is a body of photographs that have remained unseen for decades because until 2008 no one knew that they belonged to Walter Hopps; the works from this series chronicle road trips the artist took with Hopps, leaving from Memphis and traveling as far as the West Coast. Eggleston's Election Eve photographs were not editioned until 2011. Eggleston also worked with filmmakers, photographing the set of John Huston's film Annie (1982) and documenting the making of David Byrne's film True Stories (1986). In 2017 an album of Eggleston's music was released, Musik. It comprises 13 "experimental electronic soundscapes", "often dramatic improvisations on compositions by Bach (his hero) and Haendel as well as his singular takes on a Gilbert and Sullivan tune and the jazz standard On the Street Where You Live." Musik was made entirely on a 1980s Korg synthesiser, and recorded to floppy disks. The 2017 compilation Musik was produced by Tom Lunt, and released on Secretly Canadian. In 2018, Áine O'Dwyer performed the music on a pipe organ at the Big Ears music festival in Knoxville. Source: Wikipedia William Eggleston assumes a neutral gaze and creates his art from commonplace subjects: a farmer's muddy Ford truck, a red ceiling in a friend's house, the contents of his own refrigerator. In his work, Eggleston photographs "democratically"--literally photographing the world around him. His large-format prints monumentalize everyday subjects, everything is equally important; every detail deserves attention. A native Southerner raised on a cotton plantation in the Mississippi Delta, Eggleston has created a singular portrait of his native South since the late 1960s. After discovering photography in the early 1960s, he abandoned a traditional education and instead learned from photographically illustrated books by Walker Evans, Henri Cartier-Bresson, and Robert Frank. Although he began his career making black-and-white images, he soon abandoned them to experiment with color technology to record experiences in more sensual and accurate terms at a time when color photography was largely confined to commercial advertising. In 1976 with the support of John Szarkowski, the influential photography historian, critic, and curator, Eggleston mounted "Color Photographs" a now famous exhibition of his work at the Museum of Modern Art, New York. William Eggleston's Guide , in which Szarkowski called Eggleston's photographs "perfect," accompanied this groundbreaking one-person show that established his reputation as a pioneer of color photography. His subjects were mundane, everyday, often trivial, so that the real subject was seen to be color itself. These images helped establish Eggleston as one of the first non-commercial photographers working in color and inspired a new generation of photographers, as well as filmmakers. Eggleston has published his work extensively. He continues to live and work in Memphis, and travels considerably for photographic projects. Source: The Getty Museum
Colin Jones
Colin Jones
United Kingdom
1936
Colin Jones is an English ballet dancer-turned-photographer and prolific photojournalist of post-war Britain. Jones documented facets of social history as diverse as the vanishing industrial working lives of the North East coalfields, Grafters, delinquent Afro-Caribbean youth in London, The Black House, hedonistic 1960s Swinging London with pictures of The Who early in their career, the 1963 race riots in Alabama, Soviet Leningrad, and remnants of a rural Britain now lost to history. Jones was born in 1936. He experienced a war childhood; his father, a Poplar, East End printer, went away as a soldier on the Burma campaign. Jones' family was evacuated to Essex and he attended a succession of thirteen schools whilst struggling with dyslexia, before the age of sixteen, when he took up ballet lessons. In 1960 Jones was called up for national service and served in the Queen's Royal Regiment. Fresh out of the army, Colin joined the Royal Opera House, later moving to the Touring Royal Ballet and embarked on a nine-month world tour. Jones met, and for four years was married to, the great ballerina Lynn Seymour. Whilst on tour and running an errand for Dame Margot Fonteyn, he purchased his first camera, a Leica 3C rangefinder, in 1958 and started taking photographs of the dancers and backstage life during the Australian leg of the circuit. Jones admired the available-light backstage photography of Michael Peto, a Hungarian émigré, who agreed to mentor him. Colin Jones took advantage of the ballet company's travel to photograph extensively in the streets of Tokyo, Hong Kong and the Gorbals, Glasgow in 1961. Driving with fellow dancers from Newcastle to Sunderland that year, he saw, north of Birmingham, coal searchers on the spoil-heaps. In 1962, having changed his career to become a photographer for The Observer he returned to produce a series of photographs recording the vanishing industrial working poor and mining communities in the North East of England, later publishing the essay as the book Grafters. At The Observer he worked alongside photographers Philip Jones Griffiths and Don McCullin. He worked in Fleet Street for several years before turning freelance. Commissioned assignments took him to New York City in 1962; Liverpool docks in 1963; the race riots in Birmingham, Alabama, USA, where he made portraits of both 'Bull' Connor, and Dr Martin Luther King in 1963; Leningrad, USSR in 1964. In 1966 he photographed the British rock band The Who at the beginning of their career, and Pete Townshend, then Mick Jagger in 1967. He travelled to the Philippines in 1969 where he photographed the sex trade. He portrayed significant dancers, including Rudolph Nureyev for several publications. Jones’ work has been published in major publications including Life, National Geographic, Geo and Nova as well as many supplements for major broadsheet newspapers, most prominently The Times, who dubbed Jones "The George Orwell of British photography". In his later career he covered assignments around the world, including Jamaica in 1978; the indigenes of the New Hebrides and Zaire in 1980; Tom Waits in New York, 1981; San Blas Islands in 1982; Ireland in 1984; Xian, China in 1985; Ladakh in northern India 1994 and Bunker Hill, Kansas in 1996. Solo exhibitions have been devoted to his work: The Black House: Colin Jones at The Photographers' Gallery in London, 4 May – 4 June 1977 as well as at many other galleries. Martin Harrison’s Young Meteors associated Jones with other important British photographers including Don McCullin and Terence Donovan. In 2013 the Victoria and Albert Museum acquired three of Jones' historic photographs from The Black House series, along with a photograph by Dennis Morris depicting the original Black House associated with Michael X, both acquired as part of Staying Power, a five year partnership between the V&A and Black Cultural Archives, preserving black British experience from the 1950s to the 1990s through photographs and oral histories. The Arts Council also purchased his work.Source: Wikipedia The art of photography remains so fascinating because of the individuals who arrive from unexpected places and take the medium through a lifetime of changes. The career of Colin Jones has a startling trajectory. He was born in 1936, in time to be a war child, a father away as a soldier, and 13 different schools. An element of chance, as well as talent, led to a scholarship at the Royal Ballet School. The moment that defined Jones's later life occurred as he was driving with fellow-dancers from Newcastle to Sunderland one day in 1961. Travelling north of Birmingham and seeing the winding gear of coalmines had always excited Jones, who was steeped in the books of George Orwell, but now he saw the extraordinary drama of spoil-heaps swarming with coal searchers - an epic of reality and survival. Colin Jones is one of the most celebrated and prolific photographers of post-war Britain. He has documented facets of social history over the years as diverse as the vanishing industrial working lives of the Northeast (Grafters), delinquent Afro-Caribbean youth in London (The Black House), and most recently, the high-octane hedonism of Swinging London with his famous pictures of The Who early in their career. His work has been published in every major publication with any regard for the image and photography. Such as Life, and National Geographic, as well as many supplements for the major broadsheets. He has had solo exhibitions at the National Gallery of Art in Washington DC and at the Photographers Gallery in London, as well as at many other venues internationally.Source: Michael Hoppen Gallery
Laurent Spadotto
Laurent Spadotto
France
1972
For Laurent, a photo is a mirror or a window, often both. Born in 1972, Laurent lives in Bordeaux. A self-taught photographer, he is passionate about literature, still and moving images. In the early 2000s, he wrote and directed several short films. After a career in the web world, he put his skills at the service of the community by creating a non-profit webradio. After 13 years of listening and giving voice to different audiences, he felt the need to express himself again. In 2020, at the dawn of his fifties, he plunged him into a long reflection. He decided to change course and to take a difficult but necessary step to give meaning to his life: to become a professional artist photographer. Rather solitary, he likes to spend time in the company of friends he has never met. A heterogeneous tribe where A. Titarenko, D. Arbus, D. Lynch, A. Hitchcock, The Cure, Nick Cave and many others. With a special affection for Jean Cocteau. Very early on, he followed his advice, « What the public reproaches you for, cultivate it, that’s you ». His work has quickly conquered Instagram and the interest of the public and professionals (press, galleries contests, festivals…). Laurent regularly sells his photos in limited editions to clients in France and worldwide.
Nicola Fioravanti
Nicola Fioravanti
Italy
1985
Nicola Fioravanti started his photography at 23. He has been featured in internationally distinguished publications including Corriere della Sera, Repubblica, El País, Die Zeit, Die Welt, Vogue, PhotoVogue, Marie Claire, Grazia, Elle among others. His images have been used by Alibaba, Canon, City of London, Etihad, European Union, MasterClass, Mozilla Foundation, Oxford University, Pantone among others. His work has been exhibited internationally and has been awarded at Canon 'Come and See', Le Prix de la Photographie de Paris (PX3), International Photography Awards, Fine Art Photography Awards, Life Framer, ND Awards and Sony World Photography Awards among others. Nicola is based in Paris. Winner AAP Magazine #30 Shadows
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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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