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Dennis Stock
Dennis Stock

Dennis Stock

Country: United States
Birth: 1928 | Death: 2010

Dennis Stock (July 24, 1928 – January 11, 2010) was an American photojournalist and documentary photographer and a member of Magnum Photos. He was born in New York City and died in Sarasota, Florida. Stock served in the United States Army from 1947-1951. Following his discharge, he apprenticed under photographer Gjon Mili. In 1951, he won a first prize in a Life magazine competition for young photographers. That same year, he became an associate member of the photography agency Magnum. He became a full partner-member in 1954. In 1955, Stock met the actor James Dean and undertook a series of photos of the young star in Hollywood, Dean's hometown in Indiana and in New York City. He took a photograph of Dean in New York's Times Square in 1955 (the year Dean died) that became an iconic image of the young star. It appeared later in numerous galleries and on postcards and posters and was one of the most reproduced photographs of the post-war period. The black and white photograph shows the actor with a pulled up collar on a casual jacket and a cigarette in his mouth on a rain-soaked, gray day. From 1957 until the early 1960s, Stock aimed his lens at jazz musicians, photographing such people as Louis Armstrong, Billie Holiday, Sidney Bechet, Gene Krupa and Duke Ellington. With this series of photographs he published the book Jazz Street. In 1962, he received the first prize at the International Photo Competition in Poland. In 1968, Stock left Magnum to start his own film company, Visual Objectives Inc., and made several documentaries, but he returned to the agency a year later, as vice president for new media and film. In the mid-1970s, he traveled to Japan and the Far East, and also produced numerous features series, such as photographs of contrasting regions, like Hawaii and Alaska. In the 1970s and 1980s he focused on color photography of nature and landscape, and returned to his urban roots in the 1990s focusing on architecture and modernism.

(Source: en.wikipedia.org)

Dennis Stock was born in 1928 in New York City. At the age of 17, he left home to join the United States Navy. In 1947 he became an apprentice to Life magazine photographer Gjon Mili and won first prize in Life's Young Photographers contest. He joined Magnum in 1951. Stock managed to evoke the spirit of America through his memorable and iconic portraits of Hollywood stars, most notably James Dean. From 1957 to 1960 Stock made lively portraits of jazz musicians, including Louis Armstrong, Billie Holiday, Sidney Bechet, Gene Krupa and Duke Ellington for his book Jazz Street. In 1968 Stock took a leave of absence from Magnum to create Visual Objectives, a film production company, and he shot several documentaries. In the late 1960s he captured the attempts of California hippies to reshape society according to ideals of love and caring. Then throughout the 1970s and 1980s he worked on color books, emphasizing the beauty of nature through details and landscape. In the 1990s he went back to his urban origins, exploring the modern architecture of large cities. His recent work was mostly focused on the abstraction of flowers. Stock generated a book or an exhibition almost every year since the 1950s. He taught numerous workshops and exhibited his work widely in France, Germany, Italy, the United States and Japan. He worked as a writer, director and producer for television and film, and his photographs have been acquired by most major museum collections. He served as president of Magnum's film and new media division in 1969 and 1970.

(Source: Magnum Photos)

 

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Costanza Rossi
Costanza Rossi is an Italian-born documentary and travel photographer whose work explores remote and indigenous communities around the world. Dividing her time between Italy, the UK, and extended travels, she has developed a practice rooted in cultural storytelling and human connection. Her photographs are the result of immersive fieldwork in some of the most isolated places on earth, from the nomadic herders of northern Mongolia to the tribes of the Omo Valley in Ethiopia, the Amazon rainforest, or the Darién Gap. Costanza’s work has appeared in both solo and collective exhibitions, with venues such as the History Museum of Salento and the Paris Imagination Gallery. She is the co-author of I mondi nascosti dei popoli Surma (Pensa Editore, 2025) and the editor and curator of the forthcoming Anthropology & Photography Quarterly published by the History Museum of Salento. Her practice combines her professional background in communication and branding with a passion for documenting humanity in its many forms, always seeking to highlight resilience, dignity, and alternative ways of living. Artist Statement My photography is driven by a curiosity for different worlds and the many ways humanity can be expressed. I seek out communities that exist at the edges of globalization, where traditions, rituals, and identities have been preserved against the current of modernity. I am an avid traveler, fueled by the excitement and wonder that arise when I encounter cultures so different from my own. This sense of discovery and the adrenaline of confronting unfamiliar realities inspire me to keep searching, documenting both diverse traditions and pressing social issues. I approach people’s lives with empathy, building stories that honor their uniqueness. I am drawn to subjects that challenge conventional narratives, and what unites my projects is a search for visual storytelling that sparks both recognition and wonder: images that remind us of our shared humanity, while revealing the beauty of cultural difference. Awarded Photographer of the Week - Week 36, 2025
Robert Doisneau
France
1912 | † 1994
Born in April 1912 in an upper middle class family, in the Parisian suburbs (Gentilly), Robert Doisneau started showing an immoderate interest in the arts at a very early age. Robert Doisneau lost his parents at an early age and was raised by an unloving aunt. Aged 14, he enroled at the Ecole Estienne a craft school where he graduated in 1929 with diplomas in engraving and lithography. A year later, he started working for « Atelier Ullmann » as a publicity photographer. In 1931, Robert Doisneau met his future wife Pierrette Chaumaison, with whom he will have three children and also started working as an assistant for modernist photographer, André Vigneau. André Vigneau will introduce Robert Doisneau to a « new objectivity in Photography ». In 1932, Robert Doisneau sold his first photographic story to Excelsior magazine. In 1934, car manufacturer Renault hired Robert Doisneau as an industrial photographer in the Boulogne Billancourt factory. He was fired in 1939 as he was consistantly late. Without a job, Robert Doisneau became a freelance photographer trying to earn his living in advertising, engraving and in the postcard industry. Shortly before WWII, Robert Doisneau was hired by Charles Rado, founder of the Rapho Agency. His first photographic report on canoeing in Dordogne was abruptly interrupted by the war declaration. Drafted into the French army as soldier and photographer he was relieved from duty in 1940. Until the end of the war, he used his skills to forge passports and identification papers for the French Resistance. After the war, Robert Doisneau became a freelance photographer and rejoined with the Rapho agency (1946). It is probably at this time that mutual influence with Jacques-Henri Lartigue found its origin. He started producing numerous photographic stories on various subjects: Parisian news, popular Paris, foreign countries (USSR, United-States...). Some of his stories will be published in prestigious magazines, LIFE, PARIS MATCH, REALITES... In 1947, Robert Doisneau met Robert Giraud with whom he will have a life long friendship and a fruitful collaboration. Doisneau will publish more than 30 albums such as “La Banlieue de Paris” (The suburbs of Paris, Seghers 1949) with texts written by French Author Blaise Cendrars. From 1948 to 1953, Robert Doisneau also worked for Vogue Magazine as a fashion photographer. It is also at that time that he joined Group XV and participated alongside Rene Jacques, Willy Ronis and Pierre Jahan in promoting photography and its heritage preservation. In 1950, Robert Doisneau created his most recognizable work, le Baiser de l’Hôtel de Ville for Life magazine. Although Doisneau’s most recognized work dates from the 1950’s and old style magazine interest was declining in Europe in the early 1970’s, Doisneau continued to produce children’s books, advertising photography and celebrity portraits. His talent as a photographer has been rewarded on numerous occasions: Kodak prize 1947 Niepce Prize recipient in 1956 In 1960, he held his first solo exhibition in Chicago (Museum of Modern Art) In 1975 he is the guest of honour of les “Rencontres d’Arles” Grand prix National de la Photographie 1983 Balzac Prize recipient 1986 In 1991, the Royal Photographic Society awarded Robert Doisneau an Honorary Fellowship (HonFRPS) Robert Doisneau died in 1994, six months after his wife. He is buried alongside her in Raizeux.
Gabriele Viertel
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Robert Farber
United States
1944
Robert Farber’s style has influenced generations of photographers. His painterly, impressionistic style captures the essence of composition in every genre, including nudes, still life, landscapes and architecture. His ten photo art books have sold over half a million copies. Jacqueline Kennedy Onassis brought Farber into Doubleday for the publication of his book “By The Sea,” which won the Art Director’s Award for color photography. Aside from numerous creative awards, Robert Farber also received the Photographer of the Year from PMA (Photographic Manufacturers Association), ASP International Award from the PPA (Professional Photographers of America) and The American Society of Photographers. This award was given to those who’ve made a significant contribution to the science and art of photography. Some previous recipients of this award include Dr. Edwin Land (inventor of the Polaroid), George Hurrell, and National Geographic. Farber’s work with nudes in fine art as well as in the commercial realm is known and respected. He has lectured for Ogilvy & Mather on the “Nude in Advertising.” ASMP requested to use Farber’s nudes as an examples of the artistic application in support of the National Endowment of Arts, after its backing of the controversial Mapplethorpe/Serrano exhibit. His book, “Farber Nudes,” was also included the Jacqueline Kennedy Onassis estate collection. Farber’s fine-art photographs have been published in virtually every form. Farber has exhibited in galleries and museums world-wide. He’s lectured at the Smithsonian Institute, The George Eastman House, as well as Universities and professional groups throughout the United States, Japan, Australia and Europe. Aside from his fine art photography, Robert Farber’s work encompasses major campaigns for fashion, beauty and advertising, as well as directing for TV and film. A documentary highlighting Farber’s life and career, is in development for PBS.Source: www.farber.com Robert Farber has become renown for his depictions of the female form, although his painterly, impressionistic photographic style captures the essence of composition in many genres. Farber’s unique compositions allow the viewer to see the subject from a different perspective and in his words, “to evoke a feeling of romance. That the viewer wants to be there, be a part of it, get lost in it, whether it is a still life or landscape.” A pioneer in many ways, Robert Farber has been a leading force in the world of photography, particularly in his treatment of the subject of the nude. His work has paved the way for the female form to be shown in fine art, publishing, and advertising in a way that he describes only as “respectfully.” Delighting the viewer with his natural approach and fully embracing the female form with a fine art approach, Farber began introducing nudes in his advertising work in the 1970s. He brings the romance depicted in his fine art photographs to his renowned commercial work that has been celebrated over for their captivatingly composed settings. Robert Farber is a New York City native whose artistic career began with art shows in 1970 just after college. At the start of his career, his most moving memory was when he was forced to leave an art show since photography was not widely accepted as an art form at that time. Persisting with his passion, he was eventually discovered at an Upper East Side art show. Both a publishing company and an advertising agency approached him, allowing his fine art career and fashion photography career to take off simultaneously. Farber also brings his romantic style to landscapes through his Americana series. By forcing the viewer to look at the images in a different way the artist hopes to show the heart and soul of America; a perspective he also applies to his New York Series. He hopes that his unique take on composition and style allow the viewer to experience the excitement, nostalgia, the grit and the elegance of the city. Aside from numerous other creative awards, Robert Farber has received the distinctive Photographer of the Year award from the Photographic Manufacturers Association. He has also received the ASP International Award from the Professional Photographers of America and The American Society of Photographers. Farber has lectured at the Smithsonian Institute, The George Eastman House, as well as universities and professional groups throughout the United States, Japan, Australia and Europe. Jackie Kennedy Onassis recruited Farber during her time working for the publisher Doubleday that resulted in the publication of his notable book By the Sea which would be the first of many others. Recently, Canon presented Farber's work in a solo exhibition at Art Miami in 2013, while a documentary highlighting the artist is currently in development for PBS and will air in September of 2014 chronicling this artist’s amazingly elegant work over the past four decades.Source: Holden Luntz Gallery
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Da Miane
Georgia
1995
Da Miane (Nika Pailodze) is a Georgian street photographer based in Tbilisi. Born in 1995, he has been captivated by visual storytelling from an early age. Even when 0.3-megapixel phone cameras were standard, he began experimenting with photography, initially capturing nature before turning his lens toward the human and urban landscape around him. With an academic background in literary studies, Da Miane brings a nuanced narrative approach to his photography. This foundation has sharpened his eye for storytelling, composition, and emotional depth. He sees the world as a stage, where fleeting moments become lasting impressions through his camera. Since 2014, Da Miane has documented the streets of Tbilisi almost daily. His work focuses on spontaneous human interactions, environmental contrasts, and the often-overlooked poetry of everyday life. Favoring observation over orchestration, he rarely works on commercial assignments or structured projects. Instead, his approach is intuitive, shaped by constant movement and awareness of his surroundings. While not centered around formal series, his body of work includes standout projects such as Highland Adjara, in which his street photography sensibilities guided him to document remote communities with empathy and instinct rather than direction. His ability to connect with strangers and earn their trust has become a hallmark of his visual language. The people in Da Miane’s photographs are anonymous yet deeply familiar—sellers, buyers, passersby—captured repeatedly over the years as they shift through the same streets. He doesn’t seek to know their names or stories; what matters is the impression they leave in a split second, preserved forever through his lens. He works primarily in color but is equally drawn to black and white when it serves the emotional weight of an image. For Da Miane, color is not just aesthetic—it is a carrier of information, mood, and narrative clarity. Da Miane has participated in numerous photography competitions, receiving recognition both locally and internationally. His work is driven not by the pursuit of uniqueness, but by a personal connection to the scenes he witnesses. Influenced by cinema, literature, and music, he views photography not as documentation but as a way to express the subtle drama of the everyday. Awarded Photographer of the Week - Week 23
Sergey Prokudin-Gorsky
Russia
1863 | † 1944
Sergey Mikhaylovich Prokudin-Gorsky (Russian, August 30, 1863 Russian Empire – September 27, 1944) was a Russian chemist and photographer. He is best known for his pioneering work in color photography of early 20th-century Russia.Prokudin-Gorsky was born in the ancestral estate of Funikova Gora, in what is now Kirzhachsky District, Vladimir Oblast. His parents were of the Russian nobility, and the family had a long military history. They moved to Saint Petersburg, where Prokudin-Gorsky enrolled in Saint Petersburg State Institute of Technology to study chemistry under Dmitri Mendeleev. He also studied music and painting at the Imperial Academy of Arts. In 1890, Prokudin-Gorsky married Anna Aleksandrovna Lavrova, and later the couple had two sons, Mikhail and Dmitri, and a daughter, Ekaterina. Anna was the daughter of the Russian industrialist Aleksandr Stepanovich Lavrov, an active member in the Imperial Russian Technical Society (IRTS). Prokudin-Gorsky subsequently became the director of the executive board of Lavrov's metal works near Saint Petersburg and remained so until the October Revolution. He also joined Russia's oldest photographic society, the photography section of the IRTS, presenting papers and lecturing on the science of photography. In 1901, he established a photography studio and laboratory in Saint Petersburg. In 1902, he traveled to Berlin and spent six weeks studying color sensitization and three-color photography with photochemistry professor Adolf Miethe, the most advanced practitioner in Germany at that time. Throughout the years, Prokudin-Gorsky's photographic work, publications and slide shows to other scientists and photographers in Russia, Germany and France earned him praise, and in 1906 he was elected the president of the IRTS photography section and editor of Russia's main photography journal, the Fotograf-Liubitel. Lithograph print of Leo Tolstoy in front of Prokudin-Gorsky's camera in Yasnaya Polyana, 1908. Perhaps Prokudin-Gorsky's best-known work during his lifetime was his color portrait of Leo Tolstoy,[6] which was reproduced in various publications, on postcards, and as larger prints for framing. The fame from this photo and his earlier photos of Russia's nature and monuments earned him invitations to show his work to the Russian Grand Duke Michael Alexandrovich and Dowager Empress Maria Feodorovna in 1908, and to Tsar Nicholas II and his family in 1909. The Tsar enjoyed the demonstration, and, with his blessing, Prokudin-Gorsky got the permission and funding to document Russia in color.[8] In the course of ten years, he was to make a collection of 10,000 photos. Prokudin-Gorsky considered the project his life's work and continued his photographic journeys through Russia until after the October Revolution. He was appointed to a new professorship under the new regime, but he left the country in August 1918. He still pursued scientific work in color photography, published papers in English photography journals and, together with his colleague S. O. Maksimovich, obtained patents in Germany, England, France and Italy.In 1920, Prokudin-Gorsky remarried and had a daughter with his assistant Maria Fedorovna née Schedrimo. The family finally settled in Paris in 1922, reuniting with his first wife and children. Prokudin-Gorsky set up a photo studio there together with his three adult children, naming it after his fourth child, Elka. In the 1930s, the elderly Prokudin-Gorsky continued with lectures showing his photographs of Russia to young Russians in France, but stopped commercial work and left the studio to his children, who named it Gorsky Frères. He died at Paris on September 27, 1944, and is buried in the Sainte-Geneviève-des-Bois Russian Cemetery.Documentary of the Russian EmpireAround 1905, Prokudin-Gorsky envisioned and formulated a plan to use the emerging technological advances that had been made in color photography to document the Russian Empire systematically. Through such an ambitious project, his ultimate goal was to educate the schoolchildren of Russia with his "optical color projections" of the vast and diverse history, culture, and modernization of the empire. Outfitted with a specially equipped railroad-car darkroom provided by Tsar Nicholas II and in possession of two permits that granted him access to restricted areas and cooperation from the empire's bureaucracy, Prokudin-Gorsky documented the Russian Empire around 1909 through 1915. He conducted many illustrated lectures of his work. His photographs offer a vivid portrait of a lost world—the Russian Empire on the eve of World War I and the coming Russian Revolution. His subjects ranged from the medieval churches and monasteries of old Russia, to the railroads and factories of an emerging industrial power, to the daily life and work of Russia's diverse population. It has been estimated from Prokudin-Gorsky's personal inventory that before leaving Russia, he had about 3500 negatives. Upon leaving the country and exporting all his photographic material, about half of the photos were confiscated by Russian authorities for containing material that seemed to be strategically sensitive for war-time Russia. According to Prokudin-Gorsky's notes, the photos left behind were not of interest to the general public. Some of Prokudin-Gorsky's negatives were given away, and some he hid on his departure. Outside the Library of Congress collection, none has yet been found.By Prokudin-Gorsky's death, the tsar and his family had long since been executed during the Russian Revolution, and Communist rule had been established over what was once the Russian Empire. The surviving boxes of photo albums and fragile glass plates the negatives were recorded on were finally stored in the basement of a Parisian apartment building, and the family was worried about them getting damaged. The United States Library of Congress purchased the material from Prokudin-Gorsky's heirs in 1948 for $3500–$5000 on the initiative of a researcher inquiring into their whereabouts. The library counted 1902 negatives and 710 album prints without corresponding negatives in the collection.(Source: en.wikipedia.org)
Paul Strand
United States
1890 | † 1976
Paul Strand was born in New York City. As a teenager, he was a student of renowned documentary photographer Lewis Hine at the Ethical Culture Fieldston School. A visit to Gallery 291 (owned by Alfred Stieglitz) proved to be a strong influence on Strand, who began to take photographs of his own. He experimented with abstraction but also used his camera as a means to promote social reform. Alfred Stieglitz praised these early efforts and featured Strand's work in his gallery and in his magazine Camera Work. In the early 1920s, Strand began to work in motion pictures as well as still photography. In June 1949, Strand left the United States to present a film in Czechoslovakia, an event which marked the beginning of his self-imposed exile overseas due to the prevailing climate of McCarthyism in America. He settled in Orgeval, France and in the ensuing years photographed extensively, and also produced six book "portraits" of places: Time in New England (1950), La France de Profil (1952), Un Paese (1955), Tir a'Mhurain / Outer Hebrides (1962), Living Egypt (1969) and Ghana: An African Portrait (1976).Source: Robert Mann Gallery Strand married the painter Rebecca Salsbury on January 21, 1922. He photographed her frequently, sometimes in unusually intimate, closely cropped compositions. After divorcing Salsbury, Strand married Virginia Stevens in 1935. They divorced in 1949; he then married Hazel Kingsbury in 1951 and they remained married until his death in 1976. The timing of Strand's departure to France is coincident with the first libel trial of his friend Alger Hiss, with whom he maintained a correspondence until his death. Although he was never officially a member of the Communist Party, many of Strand's collaborators were either Party members (James Aldridge; Cesare Zavattini) or prominent socialist writers and activists (Basil Davidson). Many of his friends were also Communists or suspected of being so (Member of Parliament D. N. Pritt; film director Joseph Losey; Scottish poet Hugh MacDiarmid; actor Alex McCrindle). Strand was also closely involved with Frontier Films, one of more than 20 organizations that were identified as "subversive" and "un-American" by the US Attorney General. When he was asked by an interviewer why he decided to go to France, Strand began by noting that in America, at the time of his departure, "McCarthyism was becoming rife and poisoning the minds of an awful lot of people." During the 1950s, and owing to a printing process that was reportedly only available in that country at the time, Strand insisted that his books be printed in Leipzig, East Germany, even if it meant they were initially banned in the American market on account of their Communist provenance. Following Strand's move to Europe, it was later revealed in de-classified intelligence files, obtained under the Freedom of Information Act and now preserved at the Center for Creative Photography at the University of Arizona, that he was closely monitored by security services.Source: Wikipedia
Elisa Migda
France
1981
Graduated from the Sorbonne and the University Paris X in Literature, Human Sciences and Visual Anthropology (Formation de Recherches Cinématographiques created by Jean Rouch) after studying photography, video and graphic design, she joined the International photojournalism festival Visa pour l'Image Perpignan in communication and coordination. In 2016, she is also responsible for the creation of the art book fair FILAF ARTBOOK FAIR within the FILAF festival as well as the curating of the exhibitions A L'Italia by Carine Brancowitz and Before Landing by Michel Houellebecq in Perpignan. Passionate about film photography but also after having assisted various fashion and reportage photographers and contributed to various audiovisual creations, she decided to join a traditional photography laboratory in Paris, which offers more particularly the realization of large formats in order to revive the practice of printing and its processes. Eighteen months ago, she set up her own laboratory in Seine et Marne in order to carry out a more experimental and personal photographic work, that she has been pursuing for about fifteen years. In 2019, she participates in the group exhibition Le Rêve d'un mouvement in Paris with Gilles Roudière, Damien Daufresne, Stéphane Charpentier, Grégory Dargent, Frédéric D. Oberland and Gaël Bonnefon and presents her solo exhibition Sweet Surrender in Arles during the month of July with the Bergger group. Statement "My photographic work is long-term and develops around a personal project: to capture images that revolve around my life, intimate experiences and, from these photographic episodes were born portraits, self-portraits, imprints of existence. It is an abandonment where bodies and faces waver in obscure clarity, plunge into dazzle, navigate between interior and exterior spaces, loneliness and erasure from the world. In this universe, a feeling of sweet melancholy often emerges around themes such as energy, destruction, dealing with both the eternal and the ephemeral, disappearance and metamorphosis. These are trembling moments, a collection of images with fleeting, spectral visions, sprinkled with imperfections just as in our daily lives or in our dreams. There remains a disturbing strangeness, a subjective territory, trying and pensive, where the eyes are closed, frozen, elusive..." -- Elisa Migda
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American photographer Matthew Finley turns inward, using photography as a way to explore identity, memory, and emotional truth. Based in Los Angeles, his practice moves between performance, gesture, and found imagery, creating a visual language that is both intimate and deeply personal
Exclusive Interview with Jan Janssen
Dutch photographer Jan Janssen explores universal human experiences through his long-term project It Matters, winner of the May 2025 Solo Exhibition. Begun in 2016, the series captures intimate moments of everyday life—love, loss, connection, and belonging—across Central and Eastern Europe. Working in countries such as Turkey, Azerbaijan, and Armenia, Janssen spends extended time within communities, building relationships based on trust and respect. His approach allows him to move beyond observation, revealing deeply human and authentic moments. Rooted in travel and personal discovery, It Matters reflects Janssen’s search for what connects us all in an increasingly divided world. The project is ongoing and will culminate in a photobook scheduled for publication in 2026.
Exclusive Interview with Henk Kosche
German photographer Henk Kosche turns his lens toward the streets of Halle an der Saale, capturing everyday life in the late years of the former German Democratic Republic. At the time, Kosche was studying design and exploring the city with his camera, drawn to the atmosphere of its industrial landscape and the quiet rhythms of daily life. His series Street Photography at the End of the 80s, selected as the Solo Exhibition for July 2025, revisits a body of work created just before a period of profound change. Rediscovered decades later in a small box of 35mm negatives, these photographs offer glimpses of a city and its people at a moment suspended between the familiar and the unknown.
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.
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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