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Jack Montgomery
Jack Montgomery
Jack Montgomery

Jack Montgomery

Country: United States
Birth: 1950

"I am a photographer living on the coast of Maine, USA. I have photographed with some seriousness for many years, first with film and then transitioning (in part) to digital. My focus at present is making images by photogravure although I have employed many processes through the years including gelatin-silver, inkjet and palladium. My images are part of the permanent collection of a number of museums. A monograph of the photographs was published by Galerie Vevais (Germany) a few years ago. My images have appeared as book covers for Random House and other international publishers.
A full biography and list of exhibitions and publications can be found at my website." -- Jack Montgomery

Gallery

Maine Museum Of Photographic Arts

Website

www.jackmontgomeryphotography.com

 

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Meg McKenzie Ryan
Meg McKenzie Ryan
United States
Los Angeles resident Meg McKenzie Ryan married young, before graduating from college. Her husband's job involved flying to Hong Kong, so one day Meg surprised him by flying there. Asking friends what she should shop for there, buying a camera was the unanimous suggestion. So that's what happened. She didn't know how to use it, so she enrolled in a not-for-credit class at the University of California, Los Angeles. Jerry McMillan was her instructor there and later at California State University, Northridge where she earned her Bachelor in photography. In the early 70s, McMillan was active in the Los Angeles art scene, and he was particularly interested (it seemed) in helping photography to be recognized as an art form. Non-traditional subjects and alternative presentations were encouraged. I was game. Then, Meg remarried and moved to Burkina Faso, a country in West Africa, and then to neighboring Lome, Togo where her daughter was born. The culture there was incredibly different than her Los Angeles home. Religion, work and working conditions, poverty, homes, clothing, food, etc. were all new. It was a lot to digest, and more than she was prepared to face with her camera. Next, the young family moved to Bloomington, Indiana where Meg was able to study for a Masters degree in photography. Jeff Wolin was her primary instructor, and he was shooting an 8" x 10" field camera, so Meg decided to acquire one. Mostly she shot landscapes at the time. Wolin, on the other hand, was shooting beautiful shots of the rock quarries around Bloomington, and later did a project on Holocaust survivors and later still on homelessness. Moving again to the lower desert of California (city of El Centro), Meg landed a full-time photography job at the local daily newspaper. It was excellent experience for the young and somewhat shy photographer because she learned to shoot pictures of people. And this was the start of her project featured here, The lives of others. Her home was just ten miles north of the Mexicali, Mexico border town and capital of the state of Baja California, Mexico. It was easy (at the time) to cross the border, find the poorer neighborhoods, and ask to shoot their pictures. It's no accident that her photography became more documentary-like at its heart. The newspaper work and living in such a foreign place as West Africa pulled her in that direction. And at some point she realized that photos of people interested her the most. The work was wonderful, rewarding, and rich with experience and learning. Meg hopes you'll take time to look at the photos here.
Stefano Azario
Stefano Azario
Italy
1966
Born in Paris, July 31 1966, Stefano Azario is a photographer and director now living between Milan and New York. Stefano began taking photographs at the age of 11 in 1977, shortly after the loss of his father. His family moved from Italy to London in 1979, where he studied photography at the London College of Printing from 1984 to 1987. Having developed a reputation as one of the best-known commercial photographers of children and babies, Stefano is currently concentrating more in documentary and fine art photography. A turning point in Stefano's career came in 1992 when Vogue Bambini began commissioning him regularly until the magazine's demise in 2018. In 2013, Stefano was asked to plan and photograph an entire issue of the magazine. In 1994, Stefano started shooting Gap Kids and BabyGap global advertising campaigns and continued uninterrupted for over 25 years. Major publications, advertising agencies, and globally known brands have worked with him. Benetton, Uniqlo, and Armani are just a few of the brands he has collaborated with. In his photography, Stefano tries above all to lead from the heart. With the likes of Dorothea Lange, Irving Penn and Luigi Ghirri as inspiration, Stefano is nimble in his working ways; at home directing on large video sets or shooting solo. Whether accessing his intimate and tender vision of children and babies or shooting in the Indonesian forest, he enjoys using a whole gamut of different cameras, films and technology, constantly challenging his way of seeing. His last exhibition "In Cerca Della Retta Via" at the No Gallery in Pontremoli, was put together with the patronage of the Italian Ministry of Culture as part of the Lunigiana Land Art festival in 2022. Statement Through the viewfinder I aim to capture fleeting, heartfelt moments that tell compelling human stories. I seek to make order of the world around me, to share an intuitive perspective, in the hope that my images can evoke emotions and memories, connecting viewer and subject. Throughout my career I have been drawn to projects that explore themes of childhood and relationships, seeking to convey experiences that shape us in these formative years. More recently I have roamed other areas from landscape to portraiture to expand and challenge my photographic practice and storytelling ability. In Search of a Path
Elliott Erwitt
Elliott Erwitt
France
1928 | † 2023
Born in Paris in 1928 to Russian parents, Erwitt spent his childhood in Milan, then emigrated to the US, via France, with his family in 1939. As a teenager living in Hollywood, he developed an interest in photography and worked in a commercial darkroom before experimenting with photography at Los Angeles City College. In 1948 he moved to New York and exchanged janitorial work for film classes at the New School for Social Research. Erwitt traveled in France and Italy in 1949 with his trusty Rolleiflex camera. In 1951 he was drafted for military service and undertook various photographic duties while serving in a unit of the Army Signal Corps in Germany and France. While in New York, Erwitt met Edward Steichen, Robert Capa and Roy Stryker, the former head of the Farm Security Administration. Stryker initially hired Erwitt to work for the Standard Oil Company, where he was building up a photographic library for the company, and subsequently commissioned him to undertake a project documenting the city of Pittsburgh. In 1953 Erwitt joined Magnum Photos and worked as a freelance photographer for Collier's, Look, Life, Holiday and other luminaries in that golden period for illustrated magazines. To this day he is for hire and continues to work for a variety of journalistic and commercial outfits. In the late 1960s Erwitt served as Magnum's president for three years. He then turned to film: in the 1970s he produced several noted documentaries and in the 1980s eighteen comedy films for Home Box Office. Erwitt became known for benevolent irony, and for a humanistic sensibility traditional to the spirit of Magnum. Source: Magnum Photos
Eugene Ellenberg
Eugene Ellenberg
United States
1983
I'm an interdisciplinary artist and writer based in the southeast. My practice navigates acceptance, contention, and failure with what it means to be present. I shift between using a large-format view camera for documentary style storytelling and a wooden pinhole box camera exposing film for the duration of a gesture, ritual, or natural occurrence. My non-photographic media sometimes incorporates ready-made, labor related objects such as parachutes, flashlights, and reflectors to explore parallels of search and rescue with mental illness and recovery. As someone who has lost loved ones to substance abuse, and who is personally now on my own path of recovery, I embrace my art practice as a means of self inquiry, healing, and reconciling with the human condition. When I’m not making new work, or spending time with my animals, I split my days between teaching, volunteering at recovery treatment centers, and working on a second masters degree in Art Therapy. These days I’m grateful for good rest, the light that finds us, and shared time with others. In My Father’s House: While visiting my parents during my college years, I photographed a napkin on which my father had written two Elvis song titles, ‘In My Father’s House’ and ‘I Was the One.’ This small note along with others gave me insight to the private introspections of my father, the intimacy of which motivated me to investigate our relationship through the medium of photography. I expounded upon this by documenting various elements of our home and eventually asking others in my family to sit for portraits and to participate in constructed narratives. The majority of these images were captured using a large-format camera, requiring a slower, more meditative process of photographing my family members while also conveying the quiet tone of our relationships at that time. I had unknowingly started a project with an ending already in motion. Three years later, my father would be diagnosed with terminal cancer of the liver and lungs which had already spread to his bones. He was with us for seven days after the diagnosis. In his last days of consciousness, my father began to lose touch with the world and as a family we leaned into a rare embrace of vulnerability and affection. We played his favorite songs on the radio and whispered words in his ear we hadn’t said in such close proximity before. In those final hours, I grappled with my own disconnect as I slipped between the roles of active participant and documentarian. These images blur the lines of what I recall, what I want to admit and perhaps what I wanted to see.
Justine Kurland
Justine Kurland
United States
1969
Justine Kurland was born in Warsaw, New York. She earned her B.F.A. from the School of Visual Arts in 1996. She went on to Yale University and graduated with an M.F.A. in 1998. Kurland first gained public notice with her work in the group show Another Girl, Another Planet (1999), at New York's Van Doren Waxter gallery. The show included her large c-print staged tableau pictures of neo-romantic landscapes inhabited by young adolescent girls, half-sprites, half juvenile delinquents. This was her first exhibition of a photographic interest that lasted from 1997, when she began taking pictures of her mentor Laurie Simmons's babysitter and her friends, to 2002. Altogether, Kurland published 69 pictures of girls in a series called Girl Pictures. The staged photos take place in urban and wilderness settings, with girls depicted as though to imply they are runaways, hopeful and independent. As landscapes, she chose the "secret places" of late childhood; wasteland on the edges of suburbia, "owned" only by a feral nature and unsupervised children. Her book Spirit West (2000) featured similar work on a more ambitious scale. In early 2001 Kurland spent several months in New Zealand, where she created similar work with schoolgirls there. In her show Community, Skyblue (2002), Kurland turned to document the utopian communes of Virginia and California, highlighting the unworldly aspirations of the communards by having them appear naked in her pictures and showing them as only distant figures in their landscape. In 2003 she had European solo shows Golden Dawn (London) and Welcome Home (Vienna), based around these series of commune images. Old Joy (2004) turns to men. She shows visionaries trekking naked into the wilderness, where they undergo spiritual experiences. In her 2004 show Songs of Experience, she explored medieval and Biblical imagery. In 2005 she had a solo show in Japan. After having a son, Kurland began to photograph pregnant women and new mothers (Mama Baby, 2004-2007). Her son's interest in trains would lead her to photograph hobos and trains from 2007 to 2011 (This Train Is Bound for Glory); as he grew up, she became interested in American masculinity, and created photographs of cars and mechanics (Sincere Auto Care, 2014-2015). Kurland's work appears on the cover and liner notes of French electronic/shoegaze group M83's 2004 album Dead Cities, Red Seas & Lost Ghosts, as well as the covers of the EP releases for the album. In an article in ArtForum (April 2000) she talked of her inspirations: "I'm always thinking about painting: nineteenth-century English picturesque landscapes and the utopian ideal, genre paintings, and also Julia Margaret Cameron's photographs. I started going to museums at an early age, but my imagery is equally influenced by illustrations from the fairy tales I read as a child." Selections from her work Highway Kind were published in the book The Open Road: Photography & the American Road Trip by David Campany.
Ralph Eugene Meatyard
Ralph Eugene Meatyard
United States
1925 | † 1972
Ralph Eugene Meatyard (May 15, 1925 – May 7, 1972) was an American photographer from Normal, Illinois, U.S. Meatyard was born in Normal, Illinois and raised in the nearby town of Bloomington. When he turned 18 during World War II, he joined the United States Navy, though he did not serve overseas before the war ended. After leaving the force he briefly studied pre-dentistry, before training to become an optician. He moved with his new wife Madelyn to Lexington, Kentucky to continue working as an optician for Tinder-Krausse-Tinder, a company which also sold photographic equipment. The owners of the company were active members of the Lexington Camera Club, for which the Art Department of the University of Kentucky provided exhibition space. Meatyard purchased his first camera in 1950 to photograph his newborn first child, and subsequently worked primarily with a Rolleiflex medium-format camera. He joined the Lexington Camera club and the Photographic Society of America in 1954. At the Lexington Camera Club he met Van Deren Coke, who exhibited work by Meatyard in an exhibition for the university entitled Creative Photography in 1956. During the mid-1950s, Ralph Eugene Meatyard attended a series of summer workshops run by Henry Holmes Smith at Indiana University, and also with Minor White, who fostered Meatyard's interest in Zen Philosophy. An autodidact and voracious reader, Meatyard worked in productive bursts, often leaving his film undeveloped for long stretches, then working feverishly in the makeshift darkroom in his home. "His approach was somewhat improvisational and very heavily influenced by the jazz music of the time." He used his children in his work addressing the surreal "masks" of identity. Much of his work was made in abandoned farmhouses in the central Kentucky bluegrass region during family weekend outings and in derelict spaces around Lexington. Some of his earliest camera work was made in the traditionally African-American neighborhood around Lexington's Old Georgetown Street. Meatyard was a close acquaintance of several well-known writers in the Kentucky literary renaissance of the 1960s and 1970s, including his neighbor Guy Davenport, who later helped compile a posthumous edition of his photos. In 1971, Meatyard co-authored a book on Kentucky's Red River Gorge, The Unforeseen Wilderness, with writer Wendell Berry. The two frequently traveled into the Appalachian foothills. Berry and Meatyard's book contributed to saving the gorge from destruction by a proposed Army Corps of Engineers dam. Meatyard's ashes were scattered in the gorge after his death. Meatyard was also a friend and correspondent of Catholic monk and writer Thomas Merton, who lived at the Abbey of Gethsemani, a Trappist monastery just west of Bardstown, Kentucky. Merton appeared in a number of Meatyard's experimental photographs taken on the grounds of the monastery, and they shared an interest in literature, philosophy, and Eastern and Western spirituality. Meatyard wrote Merton's eulogy in the Kentucky Kernel shortly after his death in Bangkok, Thailand, in December 1968. Meatyard died four years later, in 1972, of cancer. Though Lexington was not a well-established center of photography, Meatyard did not consider himself a "Southern" or regional photographer. His work was beginning to be recognized nationally at the time of his death, shown and collected by some prominent museums and published in magazines. He exhibited with photographers including Edward Weston, Ansel Adams, Minor White, Aaron Siskind, Harry Callahan, Robert Frank, and Eikoh Hosoe. By the late 1970s, his photographs appeared mainly in exhibitions of 'southern' art, but have since attracted renewed interest. His best-known photography featured dolls and masks, or family, friends and neighbors pictured in abandoned buildings or in ordinary suburban backyards.Source: Wikipedia Ralph Eugene Meatyard lived in Lexington, Kentucky, where he made his living as an optician while creating an impressive and enigmatic body of photographs. Meatyard’s creative circle included mystics and poets, such as Thomas Merton and Guy Davenport, as well as the photographers Cranston Ritchie and Van Deren Coke, who were mentors and fellow members of the Lexington Camera Club. Meatyard’s work spanned many genres and experimented with new means of expression, from dreamlike portraits—often set in abandoned places—to multiple exposures, motion-blur, and other methods of photographic abstraction. He also collaborated with his friend Wendell Berry on the 1971 book The Unforeseen Wilderness, for which Meatyard contributed photographs of Kentucky’s Red River Gorge. Meatyard’s final series, The Family Album of Lucybelle Crater, are cryptic double portraits of friends and family members wearing masks and enacting symbolic dramas. Museum exhibitions of the artist’s work have recently been presented at Art Institute of Chicago; The Philadelphia Museum of Art; the de Young Museum, San Francisco; The International Center of Photography, New York; Cincinnati Museum of Art, Ohio; the Center for Creative Photography, Tucson; and Blanton Museum of Art, Austin, Texas. His works are held in the collections of the Metropolitan Museum of Art, San Francisco Museum of Modern Art, J. Paul Getty Museum, The Eastman Museum, and Yale University Art Gallery, among others. Monographs include American Mystic, Dolls and Masks, A Fourfold Vision, and The Family Album of Lucybelle Crater and Other Figurative Photographs.Source: Fraenkel Gallery
Randy Bacon
Randy Bacon
United States
Randy is an American photographer with an extensive history in portrait, commercial and documentary photography, both motion and still. Randy is also co-founder and artist behind all of the photography and cinematography of the nonprofit, people empowering story movement, 7 Billion Ones Randy has pursued photography professionally since 1984 and is in high demand with a client base extending worldwide. He travels to destinations across the United States, as well as numerous countries for projects. At the core of Randy's photography is the ability to present emotive visual stories with an underlying sense of narrative. His unique style reflects elements of influential film noir and old masters in painting and photography - Randy is especially influenced by photographers such as Richard Avedon, Irving Penn, Diane Arbus, Ed Weston and others. Considering these influences, the connecting thread is the unending artistic mission to capture the art of people In their real, authentic, raw self. For Randy, this simple, yet complex, truth, "you were born an original", is still the creative seed that continues to grow his artistry for photography and film. In 2011, Randy expanded into the motion picture arena. Almost instantly he secured multiple commercial film projects. In 2012, his film career exploded with the release of his directorial and production debut, "The Last Days of Extraordinary Lives". The movie garnered a significant amount of coverage and awards, including having the film being broadcast on PBS to rave reviews. "The Last Days of Extraordinary Lives" ran the film festival circuit and accumulated an impressive fifteen film festival official selections and won fourteen awards, including Best Documentary, Best Picture and Best Director. Shortly thereafter, Randy released his second full-length documentary, "Man Up and Go" which received official selection to nine national/international film festivals. Both films are signed to Academy Award winning film company, Earthworks Films, and are distributed nationally by Filmrise. In 2015, Randy founded and launched the nonprofit humanitarian story movement, 7 Billion Ones, which documents lives, shares stories, connects community and empowers mankind. 7 Billion Ones is fully dedicated to using the art of photography, motion films, and written words to present people's unique stories in an artful, raw, impacting form, so that human transformation occurs exponentially. The story movement reaches a worldwide audience via sharing and connecting people through the enormous power of the world wide web. In consideration of Randycs ongoing work with 7 Billion Ones and other humanitarian projects, he was named as Presidential Social Change Artist in Residence at Saybrook University. In addition, Randy won the Award for Homeless Advocacy with the Alliance to End Homelessness. The Road I call Home For over 35 years I have explored the art of portraiture and I am still mesmerized by photography just like when I got my first camera at 15. It's a love affair that not only endured, but has grown as an essential part of my being. I am more in awe of photography as an art form each day. As a photographer and filmmaker, I have always been intrigued by the fact that each and every person is a one-of-a-kind original - a never before created miracle. This simple, yet complex truth, "we are ALL original miracles'' is the creative seed that flames my passion for photography and represents the connecting thread with all of my work. Over the years, I have photographed thousands upon thousands of people, across America and around the world, propelled by an infinite fascination and commitment as a photographic artist to capture the miracle of each person - the 'ones' on this planet of over 7 billion. I am finding that after all of these many years, of tending to my relationship between me and this thing called a camera that I am artistically driven more and more by people and their stories. With my photography, no matter the walk of life, I strive to present each 'one' in an authentic, no frills manner as to truly relay their inherent beauty, uniqueness and value. With the narratives, I provide the accepting, safe place, so each person can truthfully share their raw, unfiltered story. In the end, I hope the work will punch people in the heart and help create positive change, new understandings of humanity and connection within our world. This is my mission. The Road I Call Home is a powerfully direct extension of my mission - portraits that reveal their special qualities and dignity versus stereotypical attitudes and perceptions society commonly has of homelessness and often presented by the media. The impetus for this approach relates directly to my own life - I was guilty of being negative and uncompassionate towards the homeless. Yes, I judged the book by the cover; however as I opened the pages of each homeless person's life I saw the enlightening truth - homeless people are important 'ones' in this world of 7 billion and deserve love and compassion. The Road I Call Home represents my most ambitious single project to date. What began as a small idea to photograph a handful of homeless people now stands at over 170 homeless lives recorded via portraits, stories and short films. The Road I Call Home continues its path as we push forward chronicling more of our homeless friends' lives. The project has been exhibited at numerous museums and galleries, including several states, with more being planned. A corresponding coffee table art book for The Road I Call Home was published in 2021. Articles The Road I Call Home The Amazing Winning Images of AAP Magazine 17 Portrait
Peikwen Cheng
Peikwen Cheng
China
1975
Peikwen Cheng studied product design at Stanford University, graduating in 1997. He is a self-taught photographer who has exhibited his work in Cambodia, Canada, China, Germany, Greece, Poland, Singapore, Sweden, Syria, United Kingdom and United States. Before turning his focus to art, he was a designer and was awarded with a United States Design Patent and an Industrial Design Excellence Award by the Industrial Design Society of America. Peikwen Cheng lives in Beijing. Peikwen Cheng is a Chinese-American artist based in New York and Shanghai. His work explores the process of change across cultures, time and place and seeks to discover magical moments in unexpected places. His art has been exhibited in Belgium, Cambodia, Canada, China, Luxembourg, Germany, Greece, Poland, Singapore, Sweden, Syria, United Kingdom and the United States; and his work has been featured by BBC, CNN, BBC, Financial Times, The Guardian, National Public Radio, The Sunday Times, and Vogue. He has been recognized by international awards including the Three Shadows Photography Award, National Geographic Award at the Eddie Adams Workshop, C/O Berlin Talents Award, Renaissance Photography Prize Category Winner, Flash Forward Selected Winner by the Magenta Foundation, Px3, and International Photography Awards. And as a designer, he was awarded with a United States Design Patent and an Industrial Design Excellence Award by the Industrial Design Society of America. He is a graduate of Stanford University, Tsinghua University and Insead. Source: Visura
Adriana Ferrarese
Adriana Ferrarese
Italy
Adriana is an Italian photographer and documentary filmmaker, based in Paris. After graduating from the prestigious film school La Fémis in Paris, she created the production company CERESA FILMS entirely dedicated to creative and experimental documentary films. Since then, she produced and directed several short and long feature documentaries that were awarded and shown internationally. While working with moving images she develops her passion for photography as an autodidact, embracing a new artistic language, yet deeply connected to documenting reality. Her work often explores the boundary between the natural and the artificial world, with a special attention on human societies and cultures.
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Latest Interviews

Exclusive Interview with Susan Anthony
Interview
Exclusive Interview with Susan Anthony
American photographer Susan Anthony brings a painter’s eye to documentary photography, creating nuanced portraits of people and places shaped by time, community, and tradition. Her work is rooted in observation, empathy, and a deep curiosity about the lives of others. Through long-term projects, she explores the relationship between individuals and the environments they inhabit, revealing the stories that connect people to a place and to one another.
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Exclusive Interview with Carole Mills Noronha
Interview
Exclusive Interview with Carole Mills Noronha
Carole Mills Noronha is an Australian photographer whose deeply personal work explores memory, family, loss, and the fragile nature of identity. Living with epilepsy and a lifelong sensitivity to light, she has developed a distinctive photographic language rooted in observation, empathy, and emotional connection. Her images are shaped by lived experience, revealing intimate stories with remarkable honesty and tenderness.
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Exclusive Interview with Trevor Cole: Pastoral Peoples and Practices
Interview
Exclusive Interview with Trevor Cole: Pastoral Peoples and Practices
For this interview, we wanted to focus specifically on The Face of the Mundari and the wider Pastoral Peoples and Practices series. We spoke with Trevor about his long-term work among the Mundari, what continues to draw him back to their cattle camps, and the experience of documenting a culture whose identity remains deeply connected to livestock, tradition, and the natural environment.
Read the full interview
Exclusive Interview with Frank Meo
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Exclusive Interview with Frank Meo
In our latest exclusive feature for All About Photo, I speak with veteran photography representative Frank Meo about what it truly takes to build a sustainable creative career today. Frank brings decades of experience working with Fortune 500 companies, major agencies, and documentary photographers to the table. We dive into the critical business skills often left out of art school curriculums, the power of mentorship, and the inspiring evolution of PROJECTIONS—his international salon platform for visual storytellers. It’s an essential read for anyone navigating the commercial or editorial photography landscape today.
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Exclusive Interview with Carolyn Moore
Interview
Exclusive Interview with Carolyn Moore
American photographer Carolyn Moore explores the inner landscape of emotion, memory, and personal transformation through a deeply intuitive photographic practice. Her work unfolds as a quiet dialogue between artist and viewer, where images become a space for reflection, vulnerability, and connection.
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Exclusive Interview with Luca Desienna and Laura Estelle Barmwoldt
Interview
Publication
Exclusive Interview with Luca Desienna and Laura Estelle Barmwoldt
For over seven years, Of Lilies and Remains has explored the depths of the goth and darkwave underground, unfolding in Leipzig—a city long associated with a vibrant and enduring subcultural scene. Moving between iconic gatherings such as Wave-Gotik-Treffen and more intimate moments on the fringes, the project offers a rare and immersive glimpse into a world often misunderstood, yet rich in expression and community. Created by Luca in collaboration with Laura Estelle Barmwoldt, the work embraces a cinematic and deeply personal approach. Rather than documenting from a distance, it moves within the scene itself, capturing its atmosphere, its codes, and its quiet contradictions. The title Of Lilies and Remains hints at this duality—where beauty and darkness, fragility and strength coexist. As the book prepares for its release, we spoke with both artists about the origins of the project, their process, and what it means to document a subculture that continues to evolve while remaining true to its spirit.
Read the full interview
Exclusive Interview with Matthew Finley
Interview
Exclusive Interview with Matthew Finley
American photographer Matthew Finley turns inward, using photography as a way to explore identity, memory, and emotional truth. Based in Los Angeles, his practice moves between performance, gesture, and found imagery, creating a visual language that is both intimate and deeply personal
Read the full interview
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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