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Win a Solo Exhibition this February. Juror: Harvey Stein
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Keliy Anderson-Staley
Keliy Anderson-Staley
Keliy Anderson-Staley

Keliy Anderson-Staley

Country: United States
Birth: 1977

Keliy Anderson-Staley was raised off the grid in Maine, studied photography in New York City and currently lives and teaches photography at the University of Houston in Texas. She earned a BA from Hampshire College in Massachusetts and an MFA in photography from Hunter College in New York.

Anderson-Staley’s tintype portrait work was awarded a New York Foundation for the Arts Fellowship and a Puffin Grant. She participated in the Bronx Museum AIM residency program in 2007, the Light Work residency and fellowship in 2010, and the Bakery Photo Collective in Westbrook Maine in 2012. She received a grant in Summer 2011 to prepare a solo exhibition of her series of tintype portraits [hyphen] Americans at Light Work in Syracuse, NY. Her color series about back-to-the-landers in Maine, Off the Grid, was one of five runners-up for the Aperture Portfolio Prize (2009). Off the Grid received the grand prize at the Joyce Elaine Grant exhibition in Denton, TX in 2009 and the Arthur Griffin Award from the Griffin Museum of Photography in 2010. The project was also a finalist for the Duke Center for Documentary Studies/Honickman First Book Prize in 2008. She also recently received funding for her project, Imagined Family Heirlooms via Kickstarter, a crowd-funding website in 2011.

Her photographs are in the permanent collections of the Library of Congress, Akron Art Museum, Cedar Rapids Museum of Art, Portland Museum of Art (Maine), and Museum of Fine Arts, Houston. She was the recipient of a New York Foundation for the Arts Fellowship, a Puffin Grant, a fellowship from the Howard Foundation and the Carol Crow Fellowship from the Houston Center for Photography. Her work published in a solo issue of Light Work’s Contact Sheet and has been shown at the National Portrait Gallery of the Smithsonian, Portland Museum of Art, Akron Art Museum, Bronx Museum of Art, Southeast Museum of Photography and the California Museum of Photography, as well as at a number of galleries around the country.

Anderson-Staley has been making wet plate collodion tintypes and ambrotypes for ten years. Her fine art and editorial work has appeared in a number of magazines, including Photo District News, New York Magazine, Art and Auction, Hemispheres Magazine, Camerawork, Contact Sheet, Conde Nast Traveler and Esquire Russia. Online, her work has been featured on Flak Photo, Conscientious, Fraction Magazine, PetaPixel, Ahorn Magazine and Daylight Magazine. Her series of tintype portraits was published in 2014 under the title On A Wet Bough by Waltz Books.

Source: Catherine Edelman Gallery

Selected Books on Available on Amazon
Contact Sheet 163: [hyphen] Americans
Contact Sheet 163: [hyphen] Americans
Keliy Anderson-Staley
Off the Grid
Off the Grid
Keliy Anderson-Staley

Gallery

Catherine Edelman Gallery

Website

www.andersonstaley.com

 

Keliy Anderson-Staley's Video

Selected Books

Contact Sheet 163: [hyphen] Americans
Contact Sheet 163: [hyphen] Americans
Keliy Anderson-Staley
Off the Grid
Off the Grid
Keliy Anderson-Staley

Inspiring Portfolios

Marijn Fidder
© Marijn Fidder
Julien Chatelin
© Julien Chatelin
Marcus Yam
© Marcus Yam
Call for Entries
All About Photo Awards 2026
$5,000 Cash Prizes! Juror: Steve McCurry
© Patrick Enssler
 
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More Great Photographers To Discover

Cao Luning
Cao Luning
China
1990
Cao Luning is a street photographer who lives in Nanjing, Jiangsu Province, China, a city of 8 million people. He only started to do photography 3 years ago and all learnt by himself. For Cao Luning, photography is a means of getting to know and expressing himself. Just like the saying "You are what you read", he also believes "You are what you shoot". He's extremely crazy about Street, Travel and Documentary photography, and the uncertainty and infinite possibilities of them fascinate him. They are just similar to life, you never know what you are going to get tomorrow. You may capture some nice shots, or you might come back empty-handed. Street photographer is his identity. Cao Luning is a street wanderer and likes to watch people. He can linger on the streets all day long without feeling tired or fed up. When he shoots, he focuses on the serendipity of specific colors, light and shadows, gestures and the implied humor of scenes. Cao Luning reckons framing is crucial to a good photograph, and he's been greatly influenced by Henri Cartier-Bresson and his "The Decisive Moment Theory", which He thinks is something that every photographer should pay attention to. His mentors are Mangum Photographer Alex Webb and his wife Rebecca Norris Webb, and they both helped him a lot in developing his own vision. In his opinion, given different situations and scenarios, a good street photographer should swiftly apply different compositions that best suit the scenes, instead of using one or two methods for all situations, because that's not a creative process, it's just mechanical repetitions. Statement I'm a street photographer who started to do photography 3 years ago. For me, photography is a means of getting to know and expressing myself. Just like the saying "You are what you read", I also believe "You are what you shoot". I'm extremely crazy about Street, Travel and Documentary photography, and the uncertainty and infinite possibilities of them fascinate me. They are just similar to life, you never know what you are going to get tomorrow. You may capture many nice shots, or you might come back empty-handed. I'm a street wanderer and I like to watch people. I can linger on the streets all day long without feeling tired or fed up. When I shoot, I focus on the serendipity of specific colors, light and shadows, gestures and the implied humor of scenes. I reckon framing is crucial to a good photograph, and I've been greatly influenced by Henri Cartier-Bresson and his "The Decisive Moment Theory", which I think is something that every photographer should pay attention to. In my opinion, given different situations and scenarios, a good street photographer should swiftly apply different compositions that best suit the scenes, instead of using one or two methods for all situations, because that's not a creative process, it's just mechanical repetitions. Most of the works I submitted were shot during the pandemic in China.. On January 2020, The New Coronavirus Pneumonia (or COVID-19) outbroke in Wuhan, Hubei Province in China and soon spread all over the country. As a result, the Chinese government locked down the whole country, stopped all production activities, restricted intercity transportation, and people were advised not to go outside. I live in Nanjing, Jiangsu Province, a city of 8 million people, and when it was shut down, it was a bit like a ghost town in the beginning, not completely empty, but hard to find people on the streets. However, I found out by the Yangtze River and some parks, there are some citizens. People would go fishing, do sports, exercise or simply relax. So I often go to those places with my camera, trying to capture their life under the influence of Coronavirus. The virus has pressed the pause button for most of us, though it's not a good thing, objectively speaking, it gives us a good opportunity to look inside and review our living states. It offers us a window to slow down and appreciate all the good and beautiful things around us as well. In the meantime, we are also given the possibility to do the things that we always wanted to do. We should cherish it and live in the moment, despite how dreadful the epidemic situation might be, life has to go on. I hope you'll enjoy my works and get to know me better by them.
Lindokuhle Sobekwa
Lindokuhle Sobekwa
South Africa
1995
Lindokuhle Sobekwa (born 1995) is a South African documentary photographer. He is a Nominee member of Magnum Photos and based in Johannesburg. Sobekwa was born in Katlehong, a township, 35 km from Johannesburg, South Africa. He learned photography in 2012 through participation in the first Of Soul and Joy Project, an educational program for young people run in the township of Thokoza; the workshop was given by Bieke Depoorter and Cyprien Clément-Delmas. His photo essay, Nyaope, about people who use the drug Nyaope in the township in which he lived and beyond, was published by the South African newspaper Mail & Guardian in 2014 and by Vice Magazine and De Standaard in 2015. Source: Wikipedia In 2015, Sobekwa received a scholarship to study at the Market Photo Workshop where he completed his foundation course. His Series Nyaope was exhibited in the ensuing group show, Free From My Happiness, organized by Rubis Mecenat at the International Photo Festival of Ghent in Belgium. In 2016, he left South Africa for a Residency in Tehran, Iran, with the No Man’s Art Gallery. The same year his work was displayed in the traveling iteration of Free from my Happiness. His work features in the book Free from my Happiness edited by Bieke Depoorter and Tjorven Bruyneel . He also took part in the group show Fresh Produce, organized by Assemblages and VANSA at the Turbine Art Fair in Johannesburg. Lindokuhle Sobekwa is also an assistant manager to the Of Soul and Joy Project, as well as a trainee at Mikhael Subotzky Studio. In 2017, Sobekwa was selected by the Magnum Foundation for Photography and Social Justice to develop the project I Carry Her Photo With Me. In 2018, he received the Magnum Foundation Fund to continue with his longterm project Nyaope, and has been selected for the residency Cité des Arts Réunion. Sobekwa became a Magnum nominee member in 2018.Source: Magnum Photos About I Carry Her Photo With Me The day his older sister Ziyanda disappeared, Lindokuhle Sobekwa was hit by a car. The two were walking together along a road in the Johannesburg suburb of Thokoza when Ziyanda began to chase the seven-year-old Sobekwa. Out of fear, he began to run, and then he was hit. Above him, he recalled before blacking out, was the blurry silhouette of a woman or girl. His sister vanished in the ensuing scramble, with no word as to why. “She was in a period of being a very secretive person,” Sobekwa remembers. She was thirteen years old. Sobekwa would not see Ziyanda again for a dozen years. Then one day, he returned from school, and Ziyanda was at home. She was reunited with the family for a couple of weeks. At the time, in 2014, Sobekwa was coming into his own as a photographer. He was in his final year of high school and working under the mentorship of Magnum photographer Bieke Depoorter and filmmaker Cyprien Clément-Delmas through the Of Soul and Joy project, an artistic initiative based in Thokoza. He remembers walking into Ziyanda’s room one day; in that moment, he saw his favorite would-be portrait of his sister: “She was lying in bed, there was a beautiful light. She said, ‘If you take a photo, I’m going to kill you.’ A few days after that, she passed away.” Disappearances are not rare in South Africa, Sobekwa says. Most Black South African families are familiar with the trauma of disappearances, which date back to the late 1980s and early ’90s, the height of the apartheid crisis. During this time, an ethnopolitical war between two rival parties, the African National Congress (ANC) and the Inkatha Freedom Party (IFP), suffused the townships with panic, as residents along the factional line were routinely vanished by violence. In Sobekwa’s family, the cycle began with his grandfather, who was the first of the line to come to Johannesburg, in the 1960s. He never returned to the countryside; his fate is still unknown. In 2017, the Magnum Foundation named Sobekwa a Photography and Social Justice Fellow. Suddenly, he had the resources to expand his search for his sister and develop his personal journal into a full-fledged series, I carry Her photo with Me (2017–ongoing). “I had my own unanswered questions, maybe guilt of some sort,” says Sobekwa. “I felt the need to go into these spaces and make the camera my excuse. I realized that going alone, it would be difficult.” With his camera in hand, he slipped once more into the role of documentarian.Source: Aperture
García De Marina
García De Marina
Spain
1975
Born in Spain in 1975. Since the year 2012 uses the object like expression way. This Poet of the Prosaic made the leap from social networking to the galleries in a few months' time. His creativity has not gone unnoticed in Spain as well as the foreign media, having his work published in several countries in the world. He has made a number of individual exhibitions and taken part in different collective exhibits, in addition to diverse art fairs. His lens is profoundly irreverent with the real: it seeks to transform and stamp objects with new identities; it challenges the obvious, and pays heed to the grandeur of the everyday. The bareness of his photography endows objects with a leading role, while they are stripped of their essence to be reinvented. The artist does not carry out any photographic manipulation on the images. From the minimalist perspective, the inventiveness of his gaze lays claim to another reality. In 2015 the artist was one of the chosen ones, by the Spanish Embassy, to participate in the "Photo Week Washington D.C.". In 2017, the Contemporary Art Museum of Castilla León in Spain (MUSAC) selected three of his pieces for the "Constellations" exhibition, experimental poetry in Spain (1963-2016), where for the first time, the presence of visual and experimental poetry in Spain from the 1960s to the present is addressed. During last years the artist has participated in some Festivals of photography, in Spain and abroad as Photo Week D.C. in Washington (2015), Photo Romania Festival (2015), Photometria Festival in Greece (2016), Festival of the light in Argentina (2016), Bucharest Foto Week (2016), Addis Foto Fest in Ethiopia (2016), Uppsala Foto Festival in Sweden (2017) and Yangon Photo Festival in Myanmar (2018). In 2018 presented his exhibition "Diálo2" in the Barjola's Museum in Spain together with one the most important visual poets of the 20th century in Spain, Joan Brossa."
Mario Giacomelli
Mario Giacomelli
Italy
1926 | † 2000
Giacomelli was a self-taught photographer. At 13, he left high school, began working as a typesetter and spent his weekends painting. After the horrors of World War II, he turned to the more immediate medium of photography. He wandered the streets and fields of post-war Italy, inspired by the gritty Neo-Realist films of Vittorio De Sica and Roberto Rossellini, and influenced by the renewed Italian photographer Giuseppe Cavalli, and developed a style characterized by bold, stylized compositions and stark contrasts. Source: Wikipedia With the death of Mario Giacomelli (1925-2000) Europe lost one of its most talented photographers. Trained initially as a typographer, his early interest in graphic effect became a key part of his later photographic work. Winner of numerous medals and prizes, he acheived international status through numerous exhibitions throughout Europe, America and Japan. His highly personal, artistically atmospheric visual style demonstrates a life-long preoccupation with landscapes that emphasize linear, abstact patterns, rural townscapes, streetscenes and portraits of everyday Italian life. His work displays a profound understanding of the country and its people and a mastery of form and effect that make his photographs imaginatve works in their own right. Source: Peter Fetterman Gallery
Sergio Larrain
Sergio Larrain
Chile
1931 | † 1912
Sergio Larrain was born in 1931 in Santiago de Chile. He studied music before taking up photography in 1949, from which year until 1953 he studied forestry at the University of California at Berkeley. He then attended the University of Michigan at Ann Arbor before setting off to travel throughout Europe and the Middle East. Thus began Larrain's work as a freelance photographer. He became a staff photographer for the Brazilian magazine O Cruzeiro and in 1956, the Museum of Modern Art in New York bought two of his pictures. In 1958, Larrain was given a grant from the British Council that allowed him to produce a series of photographs of London. The same year Henri Cartier-Bresson saw his photographs of street children and suggested that he work for Magnum. Larrain spent two years in Paris, where he worked for international press titles. Larrain became a Magnum associate in 1959 and a full member in 1961. He returned to Chile in 1961 when the poet Pablo Neruda invited him to photograph his house. In 1968, he came into contact with Bolivian guru Óscar Ichazo and virtually gave up photography to pursue his study of Eastern culture and mysticism, adopting a lifestyle in keeping with his ideals. He has devoted himself to spreading knowledge of yoga, writing, painting in oils and occasionally taking the odd photograph.
Eduardo Soler
Eduardo Soler
United States
Eduardo started his career working for renown photographers in Los Angeles and San Francisco. Later he worked full time as a staff photographer for The Sharper Image catalog company in San Francisco. His most recent clients include Bayer HealthCare, Novartis, Intuit, Boehringer Ingelheim, among others. He's also an award-winning street photographer. Eduardo lives in Oakland, California with two fun cats, Sprinkler and Tiger.
Sergey Prokudin-Gorsky
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)
Maciej Dakowicz
Maciej Dakowicz
Poland
1976
Maciej Dakowicz is a Polish street photographer, photojournalist, gallerist and educator based in Poland. He studied computer science in Poland (2000). He lived in Cardiff, Wales, between 2004 and 2012, where he worked and studied for his PhD at the University of Glamorgan (now the University of South Wales) where he also worked. He left work at the university in 2009 and completed his PhD in 2010. In 2010 he set up and ran Third Floor Gallery along with Joni Karanka and Bartosz Nowicki. He left Cardiff for London, and since 2013 has been based in Mumbai, photographing in Tunisia, Yemen, India and Bangladesh. Dakowicz is best known for his series of photographs of Cardiff nightlife titled Cardiff after Dark, also the name of his later book. Photographed over four years, photographs from the series have featured in magazines and been exhibited in galleries. Individual images from the series have also been used out of context and with misleading captions by the British tabloid media to support a single narrative about alcoholic excess. This tabloid practice has been criticized; for example, Jonathan Jones wrote in The Guardian that "Humour is the most obvious thing about his pictures, and their attraction lies in the way they balance grotesque abandon with poised, coolly beautiful lighting." Sean O'Hagan said in The Guardian that "it is not all outrageousness and vulgarity: Dakowicz also catches the sense of camaraderie and celebration in Cardiff on a Saturday night. He has an outsider's eye for telling detail, a way of showing us, in often brilliantly dramatic fashion and with a degree of gleeful humour, what is right under our noses." In March 2013 Dakowicz became a member of the In-Public street photography collective. His book Sonepur Mela (2021) contains photographs taken at Sonepur Cattle Fair in India between 2010 and 2017. Currently he is mainly occupied with teaching his popular street photography workshops in Asia and Eastern Europe.Source: Wikipedia
Trent Parke
Trent Parke
Australia
1971
Trent Parke (born 1971) is an Australian photographer. He is the husband of Narelle Autio, with whom he often collaborates. He has created a number of photography books; won numerous national and international awards including four World Press Photo awards; and his photographs are held in numerous public and private collections. He is a member of Magnum Photos. Parke was born and brought up in Newcastle, New South Wales; he now lives in Adelaide, South Australia. He started photography when he was twelve. At age 13 he watched his mother die from an asthma attack. He has worked as a photojournalist for The Australian newspaper. Martin Parr and Gerry Badger say that Parke's first book Dream/Life is "as dynamic a set of street pictures as has been seen outside the United States or Japan". In 2003 he and his wife, the photographer Narelle Autio, made a 90,000 km trip around Australia, resulting in Parke's books Minutes to Midnight and The Black Rose. Parke became a member of the In-Public street photography collective in 2001. He became a Magnum Photos nominee in 2002 and a member in 2007; the first Australian invited to join.Source: Wikipedia Trent Parke, the first Australian to become a Full Member of the renowned Magnum Photo Agency, is considered one of the most innovative and challenging photographers of his generation. Moving beyond traditional documentary photography, Parke’s work sits between fiction and reality, offering an emotional and psychological portrait of family life and Australia that is poetic and often darkly humorous. In 2015, solo exhibition The Black Rose, premiered at the Art Gallery of South Australia. Featuring photographs, lightboxes, video, written texts, and books, the exhibition lead viewers through a vast, visual narrative that explored the meaning and transience of life from both personal and universal perspectives. Parke has received numerous awards and accolades. He was a Finalist, with collaborator Narelle Autio, in the 2016 Basil Sellars Art Prize and was Winner of the 2014 Photography Prudential Eye Award. Whilst working as a press photojournalist he won five Gold Lenses from the International Olympic Committee, and multiple World Press Photo Awards in 1999, 2000, and 2005. In 2003 he was awarded the prestigious W. Eugene Smith Grant in Humanistic Photography. Parke’s work has featured in exhibitions and art fairs across the globe and is held in major institutional collections, including the National Gallery of Australia, Museum of Contemporary Art, National Gallery of Victoria, Art Gallery of New South Wales, Art Gallery of South Australia, Artbank, Magnum London and Magnum Paris. In 2014, Steidl released two hardback monographs of Parke’s work, Minutes to Midnight and The Christmas Tree Bucket. The self-published book, Dream/Life, a collaboration with Narelle Autio, was awarded second place in the American Picture of the Year Award for Photography Books in 2000.Source: Stills Gallery
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Interview
Exclusive Interview with Alan Schaller About Irys
Alan Schaller is a London-based photographer best known for his striking black-and-white street photography and as co-founder of Street Photography International, one of the largest online communities dedicated to the genre. With years of experience both behind the camera and in building platforms that give visibility to photographers, Schaller has now turned his focus to creating a new digital space for photography itself. His latest venture, Irys, is a photography app designed by photographers, for photographers, with the aim of offering a dedicated platform where images are respected as works of art rather than treated as disposable content.
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