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Mona Singh
Mona Singh
Mona Singh

Mona Singh

Country: India

Gurgaon, (India) based street/ travel photographer. Capturing emotions is one of the key ingredients in Mona Singh’s work. She firmly believes in making photographs that she resonates with. Even though it is the emotions of her subjects that she is documenting, she finds a reflection of herself in them. Her love for the unexpected and candid moments gives her the ability to find visual order within the chaos of the world and an unparalleled creative vision.

She loves to creatively capture the weird and wonderful fleeting moments as they unfold in front of her eyes. She beautifully fuses emotions and art to tell stories through her pictures. Photography for her has been a life-transforming experience. Photography is the love of her life and traveling is like blood in her veins. She loves waking up to new horizons, making new friends and exploring the world.

Silent Colors:
"Who doesn't like colors? Well, we all do... but these women are considered a curse and have lost the joy and privilege of having colors in their lives. These are the widows of Vrindavan, the abandoned and forgotten souls in one of the holiest cities of India. Thousands of them have made this city their home and the place is known as 'The city of widows'. Sitting cross-legged in a dingy room with a noisy fan, plaster peeling off the walls, watching her favorite Bengali serial on an old T.V. set, Purba (name changed) greeted me by saying 'Radhe Radhe', the only popular way to greet in Vrindavan.

She left her family in Bengal and came to the Widows Ashram in Vrindavan after her husband’s death. Many others like her in the room have either been abandoned by their families or have decided to stay away from the societal pressures and people ostracizing them. Breaking the age-old rigid Indian tradition, these widows celebrate Holi, the vibrant festival of colors at the ancient Gopinath temple. Soaked in colors, they throw rose and marigold flower petals at each other and dance with joy. It is a blissful experience for all. It is mesmerizing to see such a sight. Their white saris turn bright and colorful. It is like getting revived in the most tender way."

Websites

@monasinghphotography

monasinghphotography.com

 

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Tracy Burke
Tracy Burke
United States
1964
Tracy Burke is a visual artist whose practice examines nature as humanity's salvation. Working primarily through photography, she explores places that remain essentially untamed despite their public accessibility, investigating human engagement with the natural world and its profoundly positive psychological, emotional, and physical effects. Burke received her BA in History from Yale University, where she served as editor and publisher of Black and White: The Yale Undergraduate Photography Review. She later earned a master's degree in clinical social work from Smith College. After a transformative three-month wilderness experience at age 22 that fundamentally shifted her understanding of what gives life meaning, Burke initially set aside photography, feeling unable to capture the profound impact of the natural world through her lens. She returned to the medium years later while documenting family outings to national parks, recognizing that these images transcended family snapshots to become powerful artistic statements about human connection to the natural world. Burke's work has been exhibited at the Colorado Photographic Arts Center in Denver and the Dairy Arts Center in Boulder, Colorado. Her photographs have been published in Lenscratch and included in online exhibitions with the Center for Fine Art Photography in Fort Collins, Colorado, and PhotoPlace Gallery in Vermont. Her work is held in numerous private collections. She lives and works in Boulder, Colorado. AAP Magazine AAP Magazine 54 Nature
Dr Kumar Bishwajit Sutradhar
Dr Kumar Bishwajit Sutradhar
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Dr. Kumar Bishwajit Sutradhar is an award-winning documentary photographer from Bangladesh whose work powerfully foregrounds marginalized voices and unseen social realities. Rooted in social justice, environmental crises, women’s empowerment, and humancentered narratives, his photography goes beyond documentation to inspire awareness, empathy, and change. For over a decade, he has participated in more than 50 national and international exhibitions, with his work showcased across Australia, Japan, the United States, the United Kingdom, India, Spain, Turkey, Italy, Portugal, Montenegro, and Bangladesh. His compelling visual storytelling has reached global audiences and earned widespread critical recognition. Dr. Kumar’s work has received numerous prestigious awards, including the Grand Winner of the International Save Water Competition (Australia, 2013) and the Peoples and Planet International Award (2013). More recently, his photography was recognized at the Bangladesh Press Photo Contest (Politics, 2025), the World Environment Day Photography Contest by ICDDR,B (Climate Change, 2025), and “Framing Possibilities” by UNICEF–UNFPA (Child Marriage, 2025). His earlier recognitions include the Sony World Photography Awards (London, 2015), International Filter Photo Competition (Japan, 2013 – Special Merit Award), the Humanity Photo Awards (HPA, 2013), the Spanish Photography Competition (2014), and multiple accolades across Spain, Turkey, India, and Bangladesh. He believes the role of a photographer extends beyond aesthetics to making invisible voices visible. Through his work, he challenges dominant narratives and advocates for education, human rights, and gender equity. Alongside his photographic practice, Dr. Kumar is an educator and mentor, having served as a lecturer, workshop instructor, competition judge, and mentor to emerging photographers. During his PhD at UNSW Sydney, he was also recognized for his work in scientific photography, earning an award from the Electron Microscopy Unit at UNSW for imaging ultrasmall nanoparticles, a ground-breaking visual achievement later exhibited in Australia and Italy (2025). He has also completed multiple internationally recognized certifications from the University of Birmingham (UK), University of Nebraska Medical Center (UNMC, USA), Procter & Gamble (USA), the British Orthodontic Society (UK), and the Institute of Digital Dentistry (New Zealand), specializing in Advanced Clinical Dental Photography. Currently, he serves as a Mentor at Tooth Tomorrow Bangladesh (TTBD), supporting dental professionals nationwide through advanced visual documentation and communication. Beyond photography, he remains actively engaged in social and humanitarian initiatives with organizations such as HOPES Foundation, JAAGO Foundation, and Bangladesh Youth Environmental Initiative (BYEI) and Community Action, advancing education, environmental advocacy, and community development. Awarded Photographer of the Week - Week 02, 2026
Bruno Barbey
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France
1941 | † 2020
Bruno Barbey is a Moroccan-born French photographer. Throughout his four-decade career he has traveled across five continents, photographing many wars. Barbey was born in Morocco and in 1959-1960 he studied photography and graphic arts at the Ecole des Arts et Métiers in Vevey, Switzerland. During the 1960s he was commissioned to photograph European and African countries by Editions Rencontre in Lausanne. In 1964 Barbey began a relationship with Magnum Photos, becoming an Associate member in 1966, and a full member in 1968, at which time he was photographing student riots in Paris. He eventually served as Magnum vice president for Europe in 1978 and 1979 and from 1992-1995 as President of Magnum International. He spent 1979 to 1981 photographing Poland, resulting in his book Portrait of Poland. He rejects the label of 'war photographer', although he has covered civil wars in Nigeria, Vietnam, the Middle East, Bangladesh, Cambodia, Northern Ireland, Iraq, and Kuwait. From 2005 Barbey has, among other work, been pursuing a project on Istanbul. Source: Wikipedia Bruno Barbey was born on Feb. 13, 1941, in Berrechid, Morocco, just south of Casablanca, and grew up in various parts of the country: Rabat, Salé, Marrakesh and Tangiers. His father, Marc, was a diplomat; his mother was Marie Clement-Grandcourt. From a young age he knew he wanted to travel the world like Antoine de Saint-Exupéry, the French writer and aviator. Bruno’s parents sent him to Paris for high school, where he was a “dunce and a thwarted lefthander,” he wrote in his retrospective photographic book, Passages (2015). He and his friends skipped classes to see movies by Italian neorealist filmmakers like Roberto Rossellini and Vittorio De Sica. Mr. Barbey entered Ecole Des Arts et Métiers in Vevey, Switzerland, in 1959 to study photography and graphic arts, but left after a year, because his courses had focused on advertising and industrial photography. He craved the freedom to pursue a single subject for an extended period as the Swiss documentary photographer Robert Frank did in his groundbreaking book The Americans, which was published in France in 1958. Following Frank’s example, Mr. Barbey drove through Italy in a used Volkswagen in the early 1960s, photographing its people in black-and-white in a neorealist style. “My goal,” he wrote in Passages, “was to capture the spirit of the place.” He caught dozens of moments in the life of a nation: a family racing along on a scooter, each person ebullient save for the pregnant mother; a group of girls whose joyful expressions contrast with that of a doleful beggar holding out his hand behind them; little boys playing with realistic-looking weapons; and a host of other characters like prostitutes, priests, old men and Mafiosi. The photographs - which would later be published as The Italians in 2002 - brought him to the attention of Magnum, where he worked for more than 50 years. In addition to the Paris demonstrations, he covered conflicts in the Middle East, Nigeria, Vietnam and Cambodia and recorded life in China, Brazil, India, Japan and Spain. He spent much of 1981 in Poland during the rise of the Solidarity trade union, capturing Poles in a period of turmoil and torment. He collected the pictures in Portrait of Poland (1982). “He brought genteel attention to the human experience — with a lot of kindness,” Gilles Peress, another Magnum photographer, said in a phone interview. Mr. Barbey, whose photographs have been widely exhibited, received the French National Order of Merit and was elected a member of the French Academy of Fine Arts, Institut de France, in 2016. He served as a Magnum executive at two different times. In addition to his wife, he is survived by a daughter, Aurélie Barbey; a son, Igor; two sisters, Loïse Barbey-Caussé and Adelaïde Barbey-Guissinger; two brothers, Dominique and Guy; and four grandchildren. Although he left Morocco at age 12, Mr. Barbey kept returning there, lured by its rich colors, light and architecture. Many of his photographs were of quiet moments: a bride showing off her hands decorated with a henna design; a golden-hued interior with a distant figure in a black-and-white striped robe blending into the floor’s design; red hides drying in the sun; and a person in black walking down a lane bracketed by pink walls. “Its very difficult to photograph there,” Mr. Barbey was quoted as saying on Magnum’s website, “because in Islam photography is supposed to bring the evil eye.” He added: “You have to be cunning as a fox, well-organized and respect some customs. The photographer must learn to merge into walls. Photos must either be taken swiftly, with all the attendant risks, or only after long periods of infinite patience.”Source: New York Times
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Erik Johansson
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Lewis Hine
Lewis Hine
United States
1874 | † 1940
Lewis Hine was an American sociologist and photographer known for using his camera as a tool for social reform. His photographs were instrumental in changing child labor laws in the United States. There were two things I wanted to do. I wanted to show the things that had to be corrected. I wanted to show the things that had to be appreciated. -- Lewis Hine Lewis Hine was born on September 26, 1874, in Oshkosh, Wisconsin. After his father was killed in an accident, Hine began working and saving for college. He attended the University of Chicago, Columbia University, and New York University to study sociology. He became a teacher at the Ethical Culture School in New York City, where he encouraged his students to embrace photography as an instructional tool. Hine took his sociology pupils to New York Harbor's Ellis Island, where he photographed the thousands of immigrants that landed each day. Between 1904 and 1909, he shot over 200 plates (photographs) and realized that documentary photography could be used to effect social change and reform. Hine joined the Russell Sage Foundation's staff photographer in 1907, photographing life in the steel-making regions and inhabitants of Pittsburgh, Pennsylvania, for the landmark sociological study The Pittsburgh Survey. The next year, he left his teaching post to work as a photographer for the National Child Labor Committee (NCLC). Lewis Hine recorded child labor during the next decade, with a concentration on the use of child labor in the Carolina Piedmont, to aid the NCLC's lobbying attempts to abolish the practice. In 1913, he chronicled juvenile laborers among cotton mill workers with a series of composite pictures by Francis Galton. Charlie Foster has a steady job in the Merrimack Mills. Huntsville, Alabama.© Lewis Hine / Library of Congress Prints and Photographs Division Washington, D.C. Lewis Hine's work for the NCLC was frequently hazardous. Factory police and foremen routinely threatened him with violence or even death as a photographer. The immorality of child labor was intended to be hidden from the public at the time. Photography was not only forbidden, but it also posed a significant danger to the enterprise. Hine was compelled to disguise himself in order to gain access to the mills, mines, and factories. He worked as a fire inspector, postcard vendor, bible salesman, and even an industrial photographer documenting manufacturing technology. During and after World War I, he shot relief efforts for the American Red Cross in Europe. Hine created a series of work portraits in the 1920s and early 1930s that stressed the human contribution to modern industry. Lewis Hine was commissioned to photograph the Empire State Building's construction in 1930. He photographed the workers in perilous positions as they secured the structure's steel framework, taking many of the same hazards as the employees. He was hoisted out in a specially built basket 1,000 feet above Fifth Avenue to get the best views. He recalls hanging above the city at times, with nothing below but "a sheer drop of nearly a quarter-mile." Cherryville Mfg. Co., Cherryville, N.C. One of the smallest boys. Doffer. 1908© Lewis Hine / Library of Congress Prints and Photographs Division Washington, D.C. During the Great Depression, Hine worked for the Red Cross, photographing drought relief in the American South, and for the Tennessee Valley Authority (TVA), documenting life in the mountains of eastern Tennessee. He was also the chief photographer for the Works Progress Administration's National Research Project, which investigated changes in the industry and their impact on employment. Hine was also on the faculty of the Ethical Culture Fieldston School. Lewis Hine was chosen as the photographer for the Works Projects Administration's National Research Project in 1936, but his work there was never completed. His final years were filled with professional struggles caused by the loss of government and corporate patronage. Hine hoped to participate in the Farm Security Administration photography project, but despite numerous letters to Roy Stryker, Stryker always declined. Hine lost his house and applied for welfare because few people were interested in his work, past or present. After an operation, he died on November 3, 1940, at Dobbs Ferry Hospital in Dobbs Ferry, New York. He was 66 years old at the time. Group of workers, including boys and girls, standing outdoors© Lewis Hine / Library of Congress Prints and Photographs Division Washington, D.C. Hine's photographs aided the NCLC's campaign to end child labor, and the Children's Bureau was established in 1912. The Fair Labor Standards Act of 1938 eventually put an end to child labor in the United States. Corydon Hine, Hine's son, donated his father's prints and negatives to the Photo League, which was disbanded in 1951. The Museum of Modern Art declined to accept his photographs, but the George Eastman House did. Wendy Lamb Books published Elizabeth Winthrop Alsop's historical fiction middle-grade novel Counting on Grace in 2006. The final chapters focus on Grace, a 12-year-old girl, and her life-changing encounter with Lewis Hine during his 1910 visit to a Vermont cotton mill known to employ a large number of child laborers. The iconic photograph of Grace's real-life counterpart, Addie Card (1897-1993), taken during Hine's undercover visit to the Pownal Cotton Mill, graces the cover. In 2016, TIME Magazine published colorized versions of several of Hine's photographs of child labor in the US. In the early days of my child labor activities I was an investigator with a camera attachment... but the emphasis became reversed until the camera stole the whole show. -- Lewis Hine Lewis Hine was trained to be an educator in Chicago and New York. A project photographing on Ellis Island with students from the Ethical Culture School in New York galvanized his recognition of the value of documentary photography in education. Soon after, he became a sociological photographer, establishing a studio in upstate New York in 1912. For nearly ten years Hine was the photographer for the National Child Labor Committee, contributing to exhibitions and the organization's publication, The Survey. Declaring that he "wanted to show things that had to be corrected," he was one of the earliest photographers to use the photograph as a documentary tool. Around 1920, however, Hine changed his studio publicity from "Social Photography by Lewis W. Hine" to "Lewis Wickes Hine, Interpretive Photography," to emphasize a more artistic approach to his imagemaking. Having joined the American Red Cross briefly in 1918, he continued to freelance for them through the 1930s. In 1936 Hine was appointed head photographer for the National Research Project of the Works Projects Administration, but his work for them was never completed. His last years were marked by professional struggles due to diminishing government and corporate patronage, and he died in 1940 at age sixty-six.Source: The J. Paul Getty Museum Born in Oshkosh, Wisconsin, Lewis W. Hine studied sociology before moving to New York in 1901 to work at the Ethical Culture School, where he took up photography to enhance his teaching practices. By 1904 he had begun a series of photographs documenting the arrival of immigrants at Ellis Island; this project, along with his pictures of harsh labor conditions published in the Pittsburgh Survey, brought his work to the attention of the National Child Labor Committee. He served as its official photographer from 1911 to 1916, and later traveled with the Red Cross to Europe, where he documented the effects of World War I in France and the Balkans for Red Cross Magazine. After returning to the United States in 1922, he accepted commercial assignments, produced another series on Ellis Island immigrants, and photographed the construction of the Empire State Building. Several of these construction pictures were published in Men at Work (1932), a book celebrating the individual worker's interaction with machines in the modern world. Despite the success of this book, Hine's financial situation became desperate and his photography was virtually forgotten. Berenice Abbott and Elizabeth McCausland learned of his work through the New York City Photo League and mounted a traveling retrospective exhibition of his work to revive interest in it in 1939. Lewis Hine is best known for the documentary images of child labor practices that he produced under the aegis of the National Child Labor Committee from 1911 to 1916. These photographs not only have been credited as important in the passing of child labor laws, but also have been praised for their sympathetic depiction of individuals in abject working conditions. Hine labeled his pictures "photo-interpretations," emphasizing his subjective involvement with his subjects; this approach became the model for many later documentary photographers, such as Sid Grossman and Ben Shahn.Source: International Center of Photography
Stefano De Luigi
Stefano De Luigi
Italy
1964
I was born in Koln and spent all my life so far, between Rome, Milan and Paris. Even if we are living in a time where is not really trendy, I feel myself deeply Europeen. I choose photography to became my language, because I felt it is universal, the only filter you have to use is your own mind-eyes. Below the essential of my biography I am a photographer since 1989. I attended 2 years of courses at ISF (Instituto Superiore di Fotografia) in Rome between 1987/89 and moved, for the first time, to Paris from 1989 to 1996, working, among others for the Louvre Museum. Back and forth from France to Italy In 2000 I received the Honorable Mention of Leica Oskar Barnack Award. That same year I started the project Pornoland, a photographic journey on pornographic movie sets around the world. In 2004 Pornoland became a book enclosing 16 pages of text by English writer Martin Amis. Pornoland has been published by : Thames & Hudson, Knessebeck, La Martinière and Contrasto. This work has been exhibited at REA gallery (Paris 2004), Santa Cecilia gallery (Rome 2005), Lanificio (Naples 2006), Festival Transphotographiques (Lille 2007), New York Photo Festival (NY 2011). Personal exhibitions in these years, among others, include WHO Headquarter (Geneva 2010), VII Gallery (New York 2010), 10b Gallery (Rome 2010), Museum of Modern Art (Rovereto 2011), Photofestival (Athens 2011/15), Fondazione Stelline (Milan, 2013) FotoIstanbul (2015) , Candiani Cultural Center ( Venice 2017) Plenum Gallery ( Catania 2018) Museum of Palazzo Ducale ( Genes 2019) Image Gibellina 2021, Photolux (Lucca 2022) Planches Contact (Deauville 2022). From 2003 to 2010, I worked on Blindness-, my main work, which lasted 8 years. A photographic project on the life condition of blind and low vision people, around the world. Blindness received the patronage of Vision 2020- World Health Organisation and won the W.E. Smith Fellowship Grant in 2007. In 2006 I embarked on the project Cinema Mundi, a World Cinema exploration of the alternative cinematographic scene external to the Hollywood dream factory including China, Russia, Iran, Argentina, Nigeria, South Korea and India. Cinema Mundi has been also transformed into a 7 minutes short movie screened at Locarno International Film Festival on August 4th, 2007. I have been awarded in the World Press Photo contest four times in different categories (1998-2007-2010-2011). In 2009 the Moving Walls of Open Society Foundation exhibited my work in Washington and New York. In 2010 I was the recipient of the Days Japan International Photojournalism Award and the Getty Grant for Editorial Photography, Syngenta Prize 2015, CNC grant for the documentary"Mare Amarum" 2019, Planches Contacts grant 2021 and I was the recipient of Strategie Fotografia grant from the Italian Ministry of Culture in 2022. I published 6 books Pornoland (Contrasto 2004), Blanco, (Trolley book 2010) iDyssey, (Edition Bessard 2017) Babel with Michela Battaglia (Postcart 2018) Pornoland Redux (Self-published 2021) Il Bel Paese (L'Artiere 2023). T.I.A Africa is a continent. But Africa is also a well-defined place in my mind. Africa is unique. Every time I have had the opportunity of going there I have come face to face with incredible tragedies but also with the unwavering hope of its people. Ever since my first journey to South Africa in 1989, where I saw Walter Sisulu walk free in Soweto after years of imprisonment, I continue to be both deeply moved and deeply shocked by all the stories I have witnessed and heard. Every time I step onto African soil I know I will experience something deep, something that inevitably leads to a search for the meaning of life, something that, for me at least, surfaces from deep within when I am in Africa. The questions raised call for humbleness, since often they are without answers. We know that the truth often lies in the middle folds of things. This project aims to raise questions and provoke thoughts which could, perhaps, lead to some answers and which in turn could correspond to some truths. I have tried to conceive this project as a poem. Or perhaps it would better be described as a ballad. The ballad with verses which challenge and play with each other. In the space between two facing photographs there is a story. One of the thousand stories I witnessed in Africa, one of the thousand questions I asked myself, one of the thousand experiences I was fortunate to live. The photographs represent the two extremes of the story that links them: the beginning and the end. I couldn't find a better form of expressive language to convey how Africa is an all-encompassing experience for any human being wishing to embrace it to its full. A painful yet joyful ballad of my personal and ongoing relationship with this continent. This is why I have called it "This is Africa". I should probably have called it "This is my vision of Africa" but it didn't sound the same. By no means does this mean it is the only view of Africa. I know it may seem inadequate and subjective. But so is everything in life, I guess. So, This is Africa. Blanco How does the look of a blind person look like? Can the blind show joy, happiness, disappoint, pain, suffering, pity, regret, with the only use of their eyes? The absence of sight can mean also the absence of complicity behind the camera's lens? We always use the term blind to characterize a person, such as blond, fat, poor, rich. And maybe, in some way, it is the truth. It doesn't matter if it happens in Africa, Asia, or the old Europe. The fact is, they cannot see the light, the colors, the daily scenes, how awful or gorgeous they can be. The blind are a contrast. It is easier to ignore them, their handicap is hidden, but they do have it. It's not necessary to turn the face to something or someone else, they won't see it. They seem 'normal', but they're not. They have their own world, the same and another than ours, made of different feelings, different images, different colors. And dark.
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Exclusive Interview with Jan Janssen
Interview
Exclusive Interview with Jan Janssen
Dutch photographer Jan Janssen explores universal human experiences through his long-term project It Matters, winner of the May 2025 Solo Exhibition. Begun in 2016, the series captures intimate moments of everyday life—love, loss, connection, and belonging—across Central and Eastern Europe. Working in countries such as Turkey, Azerbaijan, and Armenia, Janssen spends extended time within communities, building relationships based on trust and respect. His approach allows him to move beyond observation, revealing deeply human and authentic moments. Rooted in travel and personal discovery, It Matters reflects Janssen’s search for what connects us all in an increasingly divided world. The project is ongoing and will culminate in a photobook scheduled for publication in 2026.
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Exclusive Interview with Henk Kosche
Interview
Exclusive Interview with Henk Kosche
German photographer Henk Kosche turns his lens toward the streets of Halle an der Saale, capturing everyday life in the late years of the former German Democratic Republic. At the time, Kosche was studying design and exploring the city with his camera, drawn to the atmosphere of its industrial landscape and the quiet rhythms of daily life. His series Street Photography at the End of the 80s, selected as the Solo Exhibition for July 2025, revisits a body of work created just before a period of profound change. Rediscovered decades later in a small box of 35mm negatives, these photographs offer glimpses of a city and its people at a moment suspended between the familiar and the unknown.
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Exclusive Interview with Anastasia Samoylova
Interview
Exclusive Interview with Anastasia Samoylova
Anastasia Samoylova is an American artist whose photographic practice is shaped by close observation and a deep attentiveness to place. Working between documentary and formal exploration, she photographs landscapes, architecture, and everyday scenes with a sensitivity to light, structure, and atmosphere. Since relocating to Miami in 2016, her work has increasingly focused on how environments—both natural and built—carry social, cultural, and emotional traces. We asked her a few questions about her practice and her way of seeing, to better understand the thoughts and experiences that shape her work—while allowing the images themselves to remain open and speak in their own time.
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Exclusive Interview with Marijn Fidder
Interview
Exclusive Interview with Marijn Fidder
Marijn Fidder is a Dutch documentary photographer whose work powerfully engages with current affairs and contemporary social issues. Driven by a deep sense of social justice, she uses photography to speak on behalf of the voiceless and to advocate for the rights of those who are most vulnerable. Her images have been widely published in major international outlets including National Geographic, CNN Style, NRC Handelsblad, Volkskrant, GUP New Talent, and ZEIT Magazin. Her long-term commitment to disability rights—particularly through years of work in Uganda—culminated in her acclaimed project Inclusive Nation, which earned her the title of Photographer of the Year 2025 at the All About Photo Awards. She is also the recipient of multiple prestigious honors, including awards from World Press Photo and the Global Peace Photo Award. We asked her a few questions about her life and work.
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Exclusive Interview with Josh S. Rose
Interview
Exclusive Interview with Josh S. Rose
Josh S. Rose is a multidisciplinary artist working across photography, film, and writing. His practice bridges visual and performing arts, with a strong focus on movement, emotion, and the expressive potential of the image. Known for his long-standing collaborations with leading dance companies and performers, Rose brings together authenticity and precise composition—a balance he describes as “technical romanticism.” His work has been commissioned and exhibited internationally, appearing in outlets such as Vogue, at the Super Bowl, in film festivals, and most recently as a large-scale installation for Lincoln Center for the Performing Arts. A sought-after collaborator, he has worked with major artists, cultural institutions, and brands, following a previous career as Chief Creative Officer at Interpublic Group and the founder of Humans Are Social. We asked him a few questions about his life and work.
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