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Win a Solo Exhibition in July 2026 + An Exclusive Interview!
Win a Solo Exhibition in July 2026 + An Exclusive Interview!
Paolo Roversi
Paolo Roversi

Paolo Roversi

Country: Italy
Birth: 1947

Paolo Roversi is an Italian-born fashion photographer based in Paris. His work is distinguished by soft, monochromatic images of women, with bodies veiled in shadow and captured with careful care to emphasize stunning facial features.

Photography goes beyond the limits of reality and illusion. It brushes up against another life, another dimension, revealing not only what is there but what is not there.

-- Paolo Roversi


Paolo Roversi, who was born in Ravenna in 1947, became interested in photography as a teenager during a family vacation in Spain in 1964. Back at home, he established a darkroom in a convenient cellar with another keen amateur, local postman Battista Minguzzi, and began developing and printing his own black-and-white work. The meeting with a local professional photographer, Nevio Natali, was crucial: in Nevio's studio, Roversi spent many hours completing an important apprenticeship as well as a close and lasting friendship.

In 1970, he began working with the Associated Press, and his first assignment was to cover Ezra Pound's burial in Venice. During the same year, Paolo Roversi founded his first portrait studio in Ravenna, capturing local celebrities and their families. In 1971, he met Peter Knapp, the legendary Art Director of Elle magazine, by chance in Ravenna. Paolo visited Paris in November 1973 at Knapp's invitation and has never returned. Paolo began working as a reporter for the Huppert Agency in Paris, but through his friends, he gradually began to explore fashion photography.

But the photographers who piqued his interest at the time were reporters. Paolo Roversi knew nothing about fashion or fashion photography at the moment. Later, he discovered the work of Richard Avedon, Irving Penn, Helmut Newton, Guy Bourdin, and many others. In 1974, the British photographer Lawrence Sackmann hired Paolo as an assistant. Paolo endured Sackmann for nine months: "Sackmann was very difficult. Most assistants only lasted a week before running away. But he taught me everything I needed to know in order to become a professional photographer. Sackmann taught me creativity. He was always trying new things even if he did always use the same camera and flash set-up. He was almost military-like in his approach to preparation for a shoot. But he always used to say ‘your tripod and your camera must be well-fixed but your eyes and mind should be free’." Then he went freelance, doing small jobs for magazines like Elle and Depeche Mode until Marie Claire published his first major fashion story.

When I take a picture using window light, I always think about what a long trip the light is making to reach my subject.

-- Paolo Roversi


Roversi's portfolio now includes celebrity and fashion photography. He has been a consistent contributor to American Vogue, and Vogue Italia, W, Vanity Fair, Interview and i-D. He has also photographed advertising campaigns for Yohji Yamamoto, Comme des Garçons, Dior, Cerruti, GIADA, Yves Saint Laurent, Valentino and Alberta Ferreti. Continuing to be a major force in contemporary fashion, Paolo Roversi is notable for his use of 8x10 Polaroid film, which is no longer produced. His work has been the subject of solo exhibitions worldwide, including at Pace MacGill Gallery in New York, James Gallery in Moscow, and Comme des Garçons in Tokyo, Rencontres d'Arles festival, France (2008), among others.
 

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Henry Peach Robinson
United Kingdom
1830 | † 1901
Henry Peach Robinson was an English pictorialist photographer best known for his pioneering combination printing - joining multiple negatives or prints to form a single image; an early example of photomontage. He joined vigorously in contemporary debates in the photographic press and associations about the legitimacy of 'art photography' and in particular the combining of separate images into one. Robinson was the oldest of four children of John Robinson, a Ludlow schoolmaster, and his wife Eliza. He was educated at Horatio Russell's academy in Ludlow until he was thirteen, when he took a year's drawing tuition with Richard Penwarne before being apprenticed to a Ludlow bookseller and printer, Richard Jones. While continuing to study art, his initial career was in bookselling, in 1850 working for the Bromsgrove bookseller Benjamin Maund, then in 1851 for the London-based Whittaker & Co. In 1852 he exhibited an oil painting, On the Teme Near Ludlow, at the Royal Academy. That same year Robinson began taking photographs, and five years later, following a meeting with the photographer Hugh Welch Diamond, decided to devote himself to that medium, in 1855 opening a studio in Leamington Spa, selling portraits. In 1856, with Rejlander, he was a founding member of the Birmingham Photographic Society. In 1859 he married Selina Grieves, daughter of a Ludlow chemist, John Edward Grieves. His son, Ralph Winwood Robinson, was also a photographer. In 1864, at the age of 34, Robinson was forced to give up his studio due to ill-health from exposure to toxic photographic chemicals. Gernsheim (1962) has shown that thereafter he preferred the easier 'scissors and paste-pot' method of making his combination prints, rather than the more exacting darkroom method employed by Rejlander. Relocating to London, Robinson kept up his involvement with the theoretical side of photography, writing the influential essay Pictorial Effect in Photography (1869), Being Hints on Composition and Chiaroscuro for Photographers, published in 1868. Around this time his health had improved sufficiently to open a new studio in Tunbridge Wells with Nelson King Cherrill, and in 1870 he became vice-president of the Royal Photographic Society. He advocated strongly for photography to be regarded as an art form. The partnership with Cherrill dissolved in 1875, Robinson continuing the business until his retirement in 1888. His son, Ralph Winwood Robinson, took over the studio business. Following internal disputes within the Photographic Society, he resigned in 1891 to become one of the early members of the rival Linked Ring society, in which he was active until 1897, when he was also elected an honorary member of the Royal Photographic Society. Robinson was an early supporter of the Photographic Convention of the United Kingdom and took part in this institution's long running debates about photography as an art form. He was invited to serve as the President of the PCUK in 1891 but, as he described later, "I felt compelled to decline, knowing that I could not carry out the duties as they should be carried out, having a defect of voice which would not allow me to read my own address." He was subsequently persuaded to serve as President in 1896, when his presidential speeches were read out by a colleague. He died aged 70 and was buried in Tunbridge Wells in early 1901. Henry Peach Robinson was one of the most prominent art photographers of his day. His third and the most famous composite picture, Fading Away (1858) was both popular and fashionably morbid. He was a follower of the pre-Raphaelites and was influenced by the aesthetic views of John Ruskin. In his Pre-Raphaelite phase he attempted to realize moments of timeless significance in a "mediaeval" setting, anticipating the work of Julia Margaret Cameron, Burne-Jones and the Symbolists. According to his letters, he was influenced by the paintings of J.M.W. Turner. He defended composite photography, asserting that the creation of combination photographs were as demanding of the photographer as paintings were of the artist. Robinson compared the making of Fading Away with Zeuxis' legendary combining of the best features of five young ladies from Crotona to produce his picture of Helena.Source: Wikipedia To produce Fading Away, this intimate narrative of family tragedy, Robinson seamlessly combined five separate negatives. The scene centers on a bedridden young woman dying of tuberculosis—or possibly of a broken heart, as suggested by the Shakespearean title of a preliminary study, She Never Told Her Love. The picture was notorious both for the “artificiality” of its technique and for its subject matter, which was considered too morbid and painfully intimate to be represented photographically. Robinson’s seamless blending of reality and artifice did, however, appeal to Prince Albert, the husband of Queen Victoria, who purchased a print of Fading Away and issued a standing order for every major composite photograph Robinson would make.Source: Metropolitan Museum of Art
Antonin Kratochvil
Czech Republic/United States
1947
Antonin is a founder of the VII photo agency. As photojournalists go, Antonin Kratochvil has sunk his teeth into his fair share of upheaval and human catastrophes whilst going about his documentation of the time in which he lives. As people go, Kratochvil's own refugee life has been much in the way the same as what he has rendered on film. Kratochvil's unique style of photography is the product of personal experience, intimate conditioning and not privileged voyeurism. Over the years his fluid and unconventional work has been sought by numerous publications stretching across widely differing interests. From shooting Mongolia's street children for the magazine published by the Museum of Natural History to a portrait session with David Bowie for Detour, from covering the war in Iraq for Fortune Magazine to shooting Deborah Harry for a national advertising campaign for the American Civil Liberties Union, Kratochvil's ability to see through and into his subjects and show immutable truth has made his pictures not facsimiles but uncensored visions. And yet, what set his kind apart from the many is his consistency and struggle to carry on. For Kratochvil this fact comes in the form of his numerous awards, grants and honorable mentions dating back to 1975. The latest of these are his two, first place prizes at the 2002 World Press Photo Awards in the categories of general news and nature and the environment. The next is the 2004 grant from Aperture publishing for Kratochvil's study on the fractious relationship between American civil liberties and the newly formed Homeland Security since the World Trade Center bombings. In addition, Kratochvil's fifth book Vanishing was presented in April 2005 and marks another significant milestone for the craft to which he belongs. Vanishing represents a collection of natural and human phenomena that on the verge of extinction. What makes this book so innovative is the twenty years it has taken to produce, making it not only historical from the onset, but a labor of love and a commitment to one man's conscience.
Dayanita Singh
Dayanita Singh is an Indian photographer whose primary format is the book. She has published fourteen books. Singh's art reflects and expands on the ways in which people relate to photographic images. Her later works, drawn from her extensive photographic oeuvre, are a series of mobile museums allowing her images to be endlessly edited, sequenced, archived and displayed. Stemming from her interest in the archive, the museums present her photographs as interconnected bodies of work that are full of both poetic and narrative possibilities. Singh's first foray into photography and bookmaking came through a chance encounter with tabla player Zakir Hussain, when he invited her to photograph him in rehearsal after she was shoved by an aggressive official while attempting to shoot him in concert. For the six winters following, Singh documented several Hussain tours and, in 1986, finally published the images in her first book, Zakir Hussain. Referring to him as her first "true guru", Singh believes that Hussain taught her the most important of all skills: focus. "Read, read, read. Forget studying photography – just go and study literature. Then you will bring something to the photography." -- Dayanita Singh, The Guardian, 2014 Singh's second book, Myself Mona Ahmed was published in 2001, after more than a decade spent on assignment as a photojournalist. A mix of photobook, biography, autobiography and fiction, this 'visual novel' emerged as a result of her refusal to be the subject of what could have been a routine but problematic photojournalistic project as well as her discomfort with the West's tendency to view India through simplistic, exotic lenses. In the years following, publishing has been a significant part of Singh's career. She has created multiple "book-objects" – works that are concurrently books, art objects, exhibitions, and catalogues—often in collaboration with the publisher Gerhard Steidl in Göttingen, Germany. These include Privacy, Chairs, the direction-changing Go Away Closer, the seven-volume Sent a Letter, Blue Book, Dream Villa, Fileroom and Museum of Chance. Sent a Letter was included in the 2011 Phaidon Press book Defining Contemporary Art: 25 years in 200 Pivotal Artworks. Steidl said in a 2013 interview on Deutsche Welle television, "She is the genius of book making". Dream Villa was produced during her Robert Gardner Fellowship in Photography given annually by the Peabody Museum of Archaeology and Ethnology at Harvard University; Singh was its second recipient in 2008. The "book-object" medium has allowed Singh to explore her interest in the poetic and narrative possibility of sequence and re-sequence, allowing her to create photographic patterns while simultaneously disrupting them. Her books rarely include text; instead she lets the photographs speak for themselves. These ideas are furthered through her experimentation with alternate ways of producing and viewing photographs to explore how people relate to photographic images. Singh has created and displayed a series of mobile museums, giving her the space to constantly sequence, edit, and archive her images. These mobile museums stemmed in large part from Singh's interest in archives and the archival process. Her mobile museums are displayed in large wooden architectural structures that can be rearranged and opened or closed in various ways. Each holds 70 to 140 photographs that Singh rearranges for each show so that only a portion of the photos or parts of each image are visible at any given time, capitalizing on the interconnected and fluid capacity of her work while allowing ample opportunity for evolving narratives and interpretations.Source: Wikipedia Dayanita Singh’s art uses photography to reflect and expand on the ways in which we relate to photographic images. Her recent work, drawn from her extensive photographic oeuvre, is a series of mobile museums that allow her images to be endlessly edited, sequenced, archived and displayed. Stemming from Singh’s interest in the archive, the museums present her photographs as interconnected bodies of work that are replete with both poetic and narrative possibilities. Publishing is also a significant part of the artist’s practice: in her books, often made in collaboration with Gerhard Steidl, she experiments with alternate forms of producing and viewing photographs. Here, Singh’s latest is the “book-object,” a work that is concurrently a book, an art object, an exhibition and a catalogue. This work, also developing from the artist’s interest in the poetic and narrative possibility of sequence and re-sequence, allows Singh to both create photographic sequence and also simultaneously disrupt it.Source: dayanitasingh.net
Mark Tuschman
United States
Over the years I have become more motivated to use my photography to communicate in a more socially conscious way—in a way that exposes people to both the degree of human suffering that exists in today’s world and to the courage and fortitude that people manifest to overcome it. In my travels I can easily imagine that I could have been born into completely different circumstances and my worldview would have been radically different, having been influenced by a completely, radically dissimilar environment and culture. Indeed, I know I have been privileged and fortunate to have been born into an affluent culture with tremendous opportunities. I believe that it is especially important for people in our society to understand other cultures and the enormous difficulties that people in other countries face daily in order to simply survive. The human condition is wrought with great uncertainty and suffering, and yet the human spirit and the hope for a better life can grow stronger in the face of adversity. I am constantly inspired by the profound fortitude of people living in difficult conditions and the empathy and commitment of the many who give counsel and aid to those less fortunate. I believe it as my moral obligation to use whatever talents I have as a photographer to transcend our limited worldviews and to help bridge the gap between cultures of affluence and poverty. Photography is a universal language and it is my hope that my images will move viewers to respond not only with empathy, but also with action. It is my intention to photograph people with compassion and dignity in the hope of communicating our interrelatedness. In the words of Sebastiao Salgado whose work I greatly admire, “If you take a picture of a human that does not make him noble, there is no reason to take this picture. That is my way of seeing things.”
Sean Perry
United States
1968
Sean Perry is an Austin-based photographer creating atmospheric portraits of the built environment across Texas, New York, and Japan. His photographs and books are held in the permanent collections of the Museum of Fine Arts, Houston; Amon Carter Museum of American Art; Harry Ransom Center; The Wittliff Collections; Yale University; Seattle Art Museum; and the Menil Collection. In 2009 he was selected as a finalist for the Hasselblad Masters Award. Perry attended Berklee College of Music and was a working musician before establishing his photographic practice in 1996. Cloverleaf Press published his first limited edition book, Transitory, in 2006, followed by Fairgrounds in 2008. Both were featured as a case study in Publish Your Photography Book (Princeton Architectural Press, 2011 & 2014). In 2025, he released Fairgrounds: Box Set, a lettered edition of 26. His photographs have been published in The New York Times Magazine, Billboard, New York, Graphis, L'Œil de la Photographie, and American Photography. He has served as Department Chair of Photography & Visual Media at Austin Community College since 2018, and previously taught at the School of Visual Arts in New York City. In 2023, he co-founded Photobook Austin with Bryan Schutmaat. Interview with Sean Perry (2014) All About Photo: When did you realize you wanted to be a photographer? Sean Perry: When I was younger I didn't know or have access to any professional photographers, but I really loved movies and looked at a lot of books. At that time I got into music and everything else was just secondary. As a musician I always thought about pictures and the visual atmosphere great songs provoke and in my thirties I started photographing and haven’t stopped. Where did you study photography? With whom? I don’t have a formal background studying photography but it’s not quite right to say I'm self taught either. One of my old bandmates, Jeff Miller is a brother to me, a great photographer and my first teacher - I learned about cameras, making good pictures and printing in the darkroom. That experience was also my first big introduction to contemporary artists like Joel-Peter Witkin and The Starns. I later had important mentors in a photographer I assisted for, Frank Curry and a sculptor who has had a tremendous influence on me as an artist and photographer, John Christensen. Do you have a mentor? I have a few friends and colleagues who I admire and trust that I ask for insight and guidance with various things... Elizabeth Avedon, Jace Graf, Stephen Clark - there are others. I ask different people, different questions for different reasons if that makes sense. I think it's important to deeply consider who you ask and why. I've been a client of Mary Virginia Swanson for many years and her savvy is always invaluable, I truly owe her a great deal. I'm always learning and seeking out the chance to improve and grow. How long have you been a photographer? I have been making pictures consistently since 1996 and started working professionally in 1998. Do you remember your first shot? What was it? What I remember most are the pictures that when I saw the film, they made me feel that the image was somehow better, or more than my capability at the time. It would lead to months of chasing and trying to catch up to the image. The first time that happened was of a barren tree in the wintertime, backlit. I remember making the other pictures from that time, but the experience of seeing something unexpected back on the contact sheets always sticks with me as meaningful. What or who inspires you? Music always. Also the discovery and study of people that give themselves to their pursuits with the discipline and heart to be excellent. New York City. Late fall leading to snow and cold weather makes me happy. How could you describe your style? A little romantic but not sentimental - sci-fi but not overtly conceptual. I always work to make beautiful images and objects that don’t apologize for their consideration of aesthetic and design. My experience has taught me there is a strange, small line between beautiful and pretty, arbitrary and yet often substantial. I think my favorite word or aim for my work is earnest, and hopefully elegant. I try to be consistent and to quote someone I deeply respect, Paul Rand – "Don’t try to be original, just try to be good." What kind of gear do you use? Camera, lens, digital, film? I’m fluent in digital tools and use them to manage images online etcetera, but I have used the same camera gear for over twelve years. Hasselblad 501CM with a 120mm lens and 25A Red filter. Tri-X film in A12 backs. Processed in D76, 1 to 1. Silver gelatin prints bleached and then toned in combinations of sepia and selenium or platinum–palladium prints from enlarged negatives. Do you spend a lot of time editing your images? I tend to run film and then not look at it for a while.... I then go through the contact sheets and make work prints of the things that seem to have promise. As the series and work evolves the process of editing, sequencing and design kicks in. After the edges of a project are more or less in place, I’ll go back again and see what I may have missed on the contact sheets. Favorite(s) photographer(s)? If I am only allowed one, Irving Penn – hands down, no one else. I love books and too many favorites to list, but in no particular order others would be Saul Leiter, Ted Croner, Robert & Shana Parke-Harrison, Tom Baril, Louis Faurer, Edward Burtynsky, Albert Watson, Hiroshi Sugimoto, Berenice Abbott and Matt Mahurin. What advice would you give a young photographer? Fearlessly make all the bad pictures you need to in order to get to the good ones. Not thoughtlessly in the number of images, but without hesitation in the intent to chase your ideas. When you are disappointed, try to understand why specifically – was it a technical mistake your effort and experience will resolve over time or was it about vision in what you could or could not see at that moment. The technical things are usually easier to improve upon, I have found the other takes additional perseverance and courage. For myself there is always the confrontation of closing the distance between the potency I’m after and the many challenges at hand while guiding it there. I think the biggest secret is simply not to quit. What mistake should a young photographer avoid? Everyone is different, so very hard to say. I believe one truth for myself has been it’s more valuable to invest time in what your pictures, your life, your point of view are all about and less energy worrying about the urgency sometimes encouraged in technology and shorter term concerns. Play long ball. An idea, a sentence, a project you would like to share? I am currently administrating an ambitious project that connects college students with high school students, creating mentorship and the development of visual language. For the college students it is to illustrate the value of mentorship from both sides, as well as create meaningful dialogue about photography and image making. It provides a mechanism for high school students to share and express their photographic work with a new audience and has direct, tangible advantages for everyone involved – accenting the importance of communication and emphasizing the photography community's tradition of portfolio review. Your best memory has a photographer? All of my favorite memories are darkroom related. My first darkroom was in John Christensen's studio, I deeply miss those days and that place. I would often print all day and all night - it's where I learned about photo-chemistry and the subtleties of split-toning and other irresistible alchemy. Your worst souvenir as a photographer? My checking account. If you could have taken the photographs of someone else who would it be? It's an interesting question but it reminds me of a rock & roll story, urban legend I remember as a kid and recently retold in Esquire Magazine. When Van Halen was touring in the late 70’s they were opening for Ted Nugent who admired Eddie Van Halen's guitar tone. Among other things, Eddie would hide one of his effect pedals (a tape echo) in an old bomb casing, adding to the mystery of his great tone and why he sounded the way he did. Everyone believed he had a "magic" black box. During sound check, Ted Nugent got the chance to play through Eddie’s rig and was disappointed to discover his guitar tone was unchanged – he sounded like he always did and whatever he loved about Eddie's tone was in his hands and not in the gear. I think photographs are like that, there are many pictures I would be thrilled if I had produced but in the end I can only make what is in my hands and heart. The images I love that others have made don't represent my life and could never belong to me. I remain a fan and audience to my heroes, happily so.
Esmeralda Ruiz
United States
Artist Statement: "My childhood was different then most. Growing up with nothing but artists was one thing, but having actually flat lined during a surgery after being diagnosed with a kidney infection changed my life forever. It wasn’t that it left me weak or prevented me from going outside and playing or even going to school with other children but the images that I saw when that moment occurred is what I strive to show in my work today. A wonderful world where the air was crisp and refreshing, with all of its flowers in bloom, my journey begins down a path with little yellow homes on each side. Beyond the path, a valley flowers appeared. On the right there were rocky mountains so enormous that clouds covered their midsection with their snow covered summits peering through. To my left the sound of the ocean was relentlessly crashing into a cliff. As I crossed my valley of flowers and ascended the cliff, I felt a cool yet, strong breeze off the ocean forcing me back. As I looked up into the vast skies above, I was overcome by the ever so omnipotent clouds with their glorious rays of sunlight beaming through. The feeling of leaping into the breeze and flying towards the light was more then overwhelming. Instead, I greeted it with a smile and made my way back to the valley. Relaxed, laying across its delicate wild flowers, my tranquil body curled up and fell into a deep sleep. Awaking to my mother at my bedside, disappointment overcame me with the realization that it was all just a dream. Weeks passed, the pain healed but my dream still reigned true. Numerous sketches and endless rants of my new world was all that was real. Having to transition from a world of such perfection to a life of obscurity seemed almost inconceivable. As such, a minor state of depression would set in as my life slowly began to drift back into its regular routine. During this time my only solace came from the amazing work found in books from various art movements and even my favorite childhood cartoons. However, as my healing process dragged on, much of what I know about color (and how I use it today) came from all the extra time spent in my parent’s studio. Watching them work and being surrounded by various mediums helped better understand art as a form of expression. This would inevitably forge my desire to show the world what I had experienced on that fateful day. As the years pass, my dream still lives within me. My thesis project has only driven my need to share my moment with the world in ways I never thought possible. After much soul searching and numerous critiques, I have come to the realization that my utopia isn’t just a dream; it is in the landscapes that have always surrounded me. Those three minutes had and will always have a tremendous impact on my life. If anything, I learned how fragile life is and to always appreciate the beautiful things in life. Photography has allowed me to show what stands out in my eyes by glorifying it in a photograph. It is the best way that I can communicate what I saw and what I felt at that particular moment. It is the bridge between my past and my present.Source: Esmeralda Ruiz Website
Oliver Curtis
United Kingdom
1963
Brought up in the Cotswolds, Curtis began his photographic education studying photography at the renowned course at Filton Technical College in Bristol. He went on to study film and television at the London College of Printing and has been balancing work in stills and moving image ever since. Curtis continues to produce stills portraiture for major broadcasters as well as generating his own projects for exhibition and publication. He sites as key influences William Eggleston, Saul Leiter and Paul Graham. He continues to plough a distinctly idiosyncratic path as Director of Photography on feature films as diverse as Clare Kilner's The Wedding Date, Frank Oz's Death At A Funeral and Joanna Hogg's Unrelated as well as experimental gallery-based installations such as Gideon Koppel's Borth. He remains in great demand worldwide shooting commercials for high profile clients such as Pantene, L'Oreal, La Perla, Ferragamo, Palmolive, Rimmel, Coca Cola, Sony, Guinness, Canon and Cadbury's. About Volte-Face: On visiting the Pyramids of Giza in Cairo in 2012, Oliver Curtis turned away and looked back in the direction he had come from. What he saw fascinated him so much that he has since made a point of turning his back on some of world's most photographed monuments and historic sites, looking at their counter-views and forgotten faces. Taken over a period of four years, Volte-face is an invitation to turn around and see a new aspect of the over-photographed sites of the world - to send our gaze elsewhere and to favour the incidental over the monumental... Curtis feels that despite the landmark not being present in the photograph, the images are still suffused with the aura of the construction. The camera lens effectively acts as a nodal point and, by giving the photograph the title of the unseen partner, this duality becomes a virtue. Volte-face will be published by Dewi Lewis featuring an essay by Geoff Dyer: https://www.dewilewis.com/collections/new-titles/products/volte-face The first exhibition of the Volte-face project was held at the Royal Geographical Society in London, Sept 2016. The collection has received a great deal of acclaim worldwide and has featured in the Financial Times Magazine (UK), NPR Radio New Hampshire (USA), Liberation (France) Wired.com and BBC World Update amongst many others.
Raymond Depardon
Raymond Depardon, born in France in 1942, began taking photographs on his family farm in Garet at the age of 12. Apprenticed to a photographer-optician in Villefranche-sur-Saône, he left for Paris in 1958. He joined the Dalmas agency in Paris in 1960 as a reporter, and in 1966 he co-founded the Gamma agency, reporting from all over the world. From 1974 to 1977, as a photographer and film-maker, he covered the kidnap of a French ethnologist, François Claustre, in northern Chad. Alongside his photographic career, he began to make documentary films: 1974, Une Partie de Campagne and San Clemente. In 1978 Depardon joined Magnum and continued his reportage work until the publication of Notes in 1979 and Correspondance New Yorkaise in 1981. In that same year, Reporters came out and stayed on the programme of a cinema in the Latin Quarter for seven months. In 1984 he took part in the DATAR project on the French countryside. While still pursuing his film-making career, he received the Grand Prix National de la Photographie in 1991, but his films also won recognition: in 1995 his film Délits Flagrants, on the French justice system, received a César Award for best documentary, and in 1998 he undertook the first in a series of three films devoted to the French rural world. The Maison Européenne de la Photographie in Paris mounted an important exhibition of his work in 2000. The sequel to his work on French justice was shown as part of the official selection at the Cannes Film Festival in 2004. As part of an initiative by the Fondation Cartier for contemporary art, Depardon made an installation of films on twelve large cities, shown in Paris, Tokyo and Berlin between 2004 and 2007. In 2006 he was invited to be artistic director of the Rencontres Internationales d'Arles. He is working on a photographic project on French territory which is due to be completed in 2010. He has made eighteen feature-length films and published forty-seven books. Source: Magnum Photos Raymond Depardon (born 6 July 1942 in Villefranche-sur-Saône, France) is a French photographer, photojournalist and documentary filmmaker. Depardon is for the most part a self-taught photographer, as he began taking pictures on his family's farm when he was 12. He apprenticed with a photographer-optician in Villefranche-sur-Saône before he moved to Paris in 1958. He began his career as a photojournalist in the early 1960s. He travelled to conflict zones including Algeria, Vietnam, Biafra and Chad. In 1966, Depardon co-founded the photojournalism agency Gamma, and he became its director in 1974. In 1973 he became Gamma’s director. From 1975 to 1977 Depardon traveled in Chad and received a Pulitzer Prize in 1977. The next year he left Gamma to become a Magnum associate, then a full member in 1979. In the 1990s, Depardon went back to his parents’ farm to photograph rural landscapes in color, and then in 1996 published a black-and-white road journal, In Africa. In May 2012, he took the official portrait of French President François Hollande. Source: Wikipedia
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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.
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.
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
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.
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