Sarah Moon

A fashion and commercial photographer since 1968, and also a filmmaker, Sarah Moon is known for her dreamlike images and her representation of femininity as free from time and context, as living in a fairy world. Although Moon has been a major participant in the world of fashion for more than three decades, she has carefully carved out her own niche -- a signature style that dispenses with the erotically suggestive poses favored by many of her male counterparts in favor of the emblems of luxury and nostalgia. Mystery and sensuality are at the core of Moon's work, whether she's photographing haute couture, still life, or portraiture. In this book, Moon's first major retrospective, viewers will be treated to a visual tour-de-force, showing all the genres she has explored in her rich and diverse career.

Source: Amazon

Sarah Moon, previously known as Marielle Hadengue, is a French photographer. Initially a model, she turned to fashion photography in the 1970s. Since 1985, she has concentrated on gallery and film work. Hadengue was born in Vichy in 1941. Her Jewish family was forced to leave occupied France for England. As a teenager she studied drawing before working as a model in London and Paris (1960–1966) under the name Marielle Hadengue. She also became interested in photography, taking shots of her model colleagues. In 1970, she finally decided to spend all her time on photography rather than modeling, adopting Sarah Moon as her new name. She successfully captured the fashionable atmosphere of London after the "swinging sixties", working closely with Barbara Hulanicki, who had launched the popular clothes store Biba. In 1972, she shot the Pirelli calendar, the first woman to do so. After working for a long time with Cacharel, her reputation grew and she also received commissions from Chanel, Dior, Comme des Garçons and Vogue. In 1985, she moved into gallery and film work, even making a pop video.

Source: Wikipedia

Texture, surface, seeing, believing, dreaming. It is difficult to summarize Sarah Moon’s fantastical photography - almost thirty years of image-making has made Sarah Moon a legend in her own lifetime. Well known for her very personalized commercial work since the early 1970s, Sarah has continued to investigate a world of her own invention without repetition and also without compromise. Looking into Sarah Moon’s extraordinary photographs is comparable to looking through a two-way mirror. The mirror surface becomes the print and the viewer has the privilege of standing on the ’other-side’ looking through the image at the same time. The living creatures are rendered so ’still’ and conversely the inanimate objects, such as the dolls, become human and expressive with their own inimitable character, ultimately mirroring each other. There is an atmosphere and intensity which is constantly apparent that sets her work apart.

It is also the range of subject matter, the banal, the incidental, and the secret that Sarah Moon allows us to see in a new and extraordinary light. The current trend in photography is towards a method that is more and more interventionist. Moon takes little pleasure in this kind of creation, but is involved in a personal search. The dream world is quintessential to her work; her images lead us into a world bewitched. When men appear, her pictures move towards a more disturbing surrealism and a dangerous mystery is inferred. These are photographs in which the bizarre and unusual confront ordinary reality.

Source: Michael Hoppen Gallery

Selected Books on

Dior by Sarah Moon

Sarah Moon, Maria Grazia Chiuri, Olivier Saillard

Sarah Moon: Now and Then

Sarah Moon, Ingo Taubhorn, Brigitte Woischnik

Sarah Moon: 12345

Sarah Moon

Sarah Moon: Coincidences

Sarah Moon, Robert Delpire

Galleries

Howard Greenberg Gallery

Fahey/Klein Gallery

Michael Hoppen Gallery

Selected Books

Dior by Sarah Moon

Sarah Moon, Maria Grazia Chiuri, Olivier Saillard

Sarah Moon: Now and Then

Sarah Moon, Ingo Taubhorn, Brigitte Woischnik

Sarah Moon: 12345

Sarah Moon

Sarah Moon: Coincidences

Sarah Moon, Robert Delpire

Inspiring Portfolios

Anna Biret

Svetlin Yosifov

Shinji Ichikawa

Call for Entries

AAP Magazine #56 Shadows

Publish your work in our printed magazine and win $1,000 cash prizes

Stay up-to-date with call for entries, deadlines and other news about exhibitions, galleries, publications, & special events.

More Great Photographers To Discover

Horst P. Horst

Germany/United States
1906 | † 1999

Horst P. Horst (born Horst Paul Albert Bohrmann), was a German-American fashion photographer. The younger of two sons, Horst was born in Weißenfels-an-der-Saale, Germany, to Klara (Schönbrodt) and Max Bohrmann. His father was a successful merchant. In his teens, he met dancer Evan Weidemann at the home of his aunt, and this aroused his interest in avant-garde art. In the late 1920s, Horst studied at Hamburg Kunstgewerbeschule, leaving there in 1930 to go to Paris to study under the architect Le Corbusier. While in Paris, he befriended many people in the art community and attended many galleries. In 1930 he met Vogue photographer Baron George Hoyningen-Huene, a half-Baltic, half-American nobleman, and became his photographic assistant, occasional model, and lover. He traveled to England with him that winter. While there, they visited photographer Cecil Beaton, who was working for the British edition of Vogue. In 1931, Horst began his association with Vogue, publishing his first photograph in the French edition of Vogue in December of that year. It was a full-page advertisement showing a model in black velvet holding a Klytia scent bottle. His first exhibition took place at La Plume d'Or in Paris in 1932. It was reviewed by Janet Flanner in The New Yorker, and this review, which appeared after the exhibition ended, made Horst instantly prominent. Horst made a portrait of Bette Davis the same year, the first in a series of public figures he would photograph during his career. Within two years, he had photographed Noël Coward, Yvonne Printemps, Lisa Fonssagrives, Count Luchino Visconti di Madrone, Duke Fulco di Verdura, Baron Nicolas de Gunzburg, Princess Natalia Pavlovna Paley, Daisy Fellowes, Princess Marina of Greece and Denmark, Cole Porter, Elsa Schiaparelli, and others like Eve Curie. Horst rented an apartment in New York City in 1937, and while residing there met Coco Chanel, whom Horst called "the queen of the whole thing". He would photograph her fashions for three decades. He met Valentine Lawford, British diplomat in 1938, and they lived together until Lawford's death in 1991. Horst adopted a son, Richard J. Horst, whom they raised together. In 1941, Horst applied for United States citizenship. In 1942, he passed an Army physical, and joined the Army on July 2, 1943. On October 21, he received his United States citizenship as Horst P. Horst. He became an Army photographer, with much of his work printed in the forces' magazine Belvoir Castle. In 1945, he photographed United States President Harry S. Truman, with whom he became friends, and he photographed every First Lady in the post-war period at the invitation of the White House. In 1947, Horst moved into his house in Oyster Bay, New York. He designed the white stucco-clad building himself, the design inspired by the houses that he had seen in Tunisia during his relationship with Hoyningen-Huene. Horst is best known for his photographs of women and fashion, but is also recognized for his photographs of interior architecture, still lifes, especially ones including plants, and environmental portraits. One of the great iconic photos of the Twentieth-Century is "The Mainbocher Corset" with its erotically charged mystery, captured by Horst in Vogue’s Paris studio in 1939. Designers like Donna Karan continue to use the timeless beauty of "The Mainbocher Corset" as an inspiration for their outerwear collections today. His work frequently reflects his interest in surrealism and his regard of the ancient Greek ideal of physical beauty. Lighting is more complex than one thinks. There appears to be only one source of light. But there were actually reflectors and other spotlights. I really don’t know how I did it. I would not be able to repeat it. -- Horst P. Horst, on his 1939 photograph Mainbocher Corset His method of work typically entailed careful preparation for the shoot, with the lighting and studio props (of which he used many) arranged in advance. His instructions to models are remembered as being brief and to the point. His published work uses lighting to pick out the subject; he frequently used four spotlights, often one of them pointing down from the ceiling. Only rarely do his photos include shadows falling on the background of the set. Horst rarely, if ever, used filters. While most of his work is in black & white, much of his color photography includes largely monochromatic settings to set off a colorful fashion. Horst's color photography did include documentation of society interior design, well noted in the volume Horst Interiors. He photographed a number of interiors designed by Robert Denning and Vincent Fourcade of Denning & Fourcade and often visited their homes in Manhattan and Long Island. After making the photograph, Horst generally left it up to others to develop, print, crop, and edit his work. One of his most famous portraits is of Marlene Dietrich, taken in 1942. She protested the lighting that he had selected and arranged, but he used it anyway. Dietrich liked the results and subsequently used a photo from the session in her own publicity. In the 1960s, encouraged by Vogue editor Diana Vreeland, Horst began a series of photos illustrating the lifestyle of international high society which included people like: Consuelo Vanderbilt, Marella Agnelli, Gloria Guinness, Baroness Pauline de Rothschild and Baron Philippe de Rothschild, Helen of Greece and Denmark, Baroness Geoffroy de Waldner, Princess Tatiana of Sayn-Wittgenstein-Berleburg, Lee Radziwill, Duke of Windsor and Duchess of Windsor, Peregrine Eliot, 10th Earl of St Germans and Lady Jacquetta Eliot, Countess of St Germans, Antenor Patiño, Oscar de la Renta and Françoise de Langlade, Desmond Guinness and Princess Henriette Marie-Gabrielle von Urach, Andy Warhol, Nancy Lancaster, Yves Saint Laurent, Doris Duke, Emilio Pucci, Cy Twombly, Billy Baldwin, Jacqueline Kennedy Onassis, Amanda Burden, Paloma Picasso and Comtesse Jacqueline de Ribes. The articles were written by the photographer's longtime companion, Valentine Lawford, a former English diplomat. From this point until nearly the time of his death, Horst spent most of his time traveling and photographing. In the mid-1970s, he began working for House & Garden magazine as well as for Vogue. Horst's last photograph for British Vogue was in 1991 with Princess Michael of Kent, shown against a background of tapestry and wearing a tiara belonging to her mother-in-law, Princess Marina, who he had photographed in 1934. He died at his home in Palm Beach Gardens, Florida at 93 years of age.Source: Wikipedia I don’t think photography has anything remotely to do with the brain. It has to do with eye appeal. -- Horst P. Horst

Zanele Muholi

South Africa
1972

Zanele Muholi was born in Umlazi, Durban, in 1972. She completed an Advanced Photography course at the Market Photo Workshop in Newtown and held her first solo exhibition at the Johannesburg Art Gallery in 2004. She has worked as a community relations officer for the Forum for the Empowerment of Women (FEW), a black lesbian organisation based in Gauteng, and as a photographer and reporter for Behind the Mask, an online magazine on lesbian and gay issues in Africa. Her work represents the black female body in a frank yet intimate way that challenges the history of the portrayal of black women's bodies in documentary photography. Her solo exhibition Only half the picture, which showed at Michael Stevenson in March 2006, travelled to the Market Photo Workshop in Johannesburg and the Afrovibes Festival in Amsterdam. In 2008 she had a solo show at Le Case d'Arte, Milan, and in 2009 she exhibited alongside Lucy Azubuike at the CCA Lagos, Nigeria. She was the recipient of the 2005 Tollman Award for the Visual Arts, the first BHP Billiton/Wits University Visual Arts Fellowship in 2006, and was the 2009 Ida Ely Rubin Artist-in-Residence at the Massachusetts Institute of Technology (MIT). Muholi's photography has been compared to the way W.E.B. DuBois subverted the typical representations of African Americans. Both Muholi and Du Bois have created an archive of photos, working to dismantle dominant, pre-existing perceptions of the subjects they chose to photograph. Muholi views their work as collaborative, referring to the individuals they photograph as "participants" rather than as subjects. Seeking to empower their subjects, Muholi often invites participants to speak at events and exhibitions, adding the participant's voice to the conversation. Through their artistic approach they hope to document the journey of the African queer community as a record for future generations. They try to capture the moment without negativity or focusing on the prevalent violence, portraying the LGBTQI community as individuals and as a whole to encourage unity. Thus, their work can be considered documentative, recording the overall community LGBTI of South Africa and their challenges, and at times, more specifically the struggle of black lesbians. Before 1994, black lesbian voices were excluded from the making of a formal queer movement. Muholi's efforts of creating a more positive visualization of LGBTI Africans combats the homophobic-motivated violence that is prevalent in South Africa today, especially in the case of black lesbians. While black women's bodies appear frequently throughout sexualized pop-culture, black lesbians are viewed (through the lens of the patriarchy and heteronormativity) as undesirable. This negative view of homosexuals in Africa lead to violence, such as murder and rape, and rejection from their families. Muholi's Zukiswa (2010), shows an African lesbian woman making eye contact with the viewer, displaying an unwavering gaze of confidence, self-awareness, and determination. This example encourages awareness, acceptance, and positivity with the queer community as well as South Africa. Although Muholi became known as a photographer who engaged with the then-invisible lives of black lesbians in South Africa, they began to recognize this idea of "gender within gender." In 2003, and their sense of community definitively began to include trans people. Muholi was employed as a photographer and reporter for Behind the Mask, an online magazine on LGBTI issues in Africa. Muholi first received global attention from the art world in 2012 at Documenta, a world-famous exhibition of modern and contemporary art in (Germany), for a series of portraits of lesbians and transgender participants titled: Faces and Phases. The photos were also exhibited at Stedelijk Museum Amsterdam.Source: Wikipedia

Pedro Luis Saiz Ajuriaguerra

Spain
1974

Pedro Luis Saiz Ajuriaguerra (Bilbao, Bizkaia, Spain, 1974). self-taught photographer, began his career back in 2011 discovering a passion that was unknown, the beginning do little more than encourage their concerns are increasing making try almost all disciplines of photography, highlighting mainly in sports photography, and architectural photography. It has the distinctions MCEF / o (Gold Master of the Spanish Confederation of Photography) and EFIAP / g (Gold Excellence of the International Federation of Photographic Art). He is currently collaborating with magazines such as BAO Bilbao Magazine, Bilbao Tourism, Bilbao Bizkaia Tour Magazine and for different sports promoters such as MGZ Promotions, Euskobox etc. Judge in more than 20 international competitions. He has participated in numerous International competition and has managed numerous medals of FIAP, PSA, GPU, IUP, DPA, UPI, CVB, ISF, PCA (50 FIAP Gold Medals and around 70 PSA Gold Medals), just over 400 awards and more than 5000 acceptances by various international photographic salons in the last years. The predator of instants He is shy, thin, with white skin and very large, green, expressive eyes. They are eyes that capture everything; Suddenly, they focus on a sheet of time and begin to create a painting. The camera is just the harpoon that he catches that moment. Before, Pedro Luís has studied the hunting area. And then he will catch the moment before showing the trophy. He is a predator. "I'm not obsessed with light, or color, or movement. I am very attracted to various disciplines such as sports, architecture and extreme macro. I am looking for a place, event or object and I begin my research on what can be photographed, which can last for weeks. Then I let myself go, "he explains. "It is essential to tell stories with photos. A good photograph must relate something. A photo is a story, a short story. Of course, it is not always possible. But the most impressive photos always have a story inside ". He insists that passion is the descriptive element of his photographic style. "It is my strong point, it forces me to go further." That passion is transmitted to the photo "with a lot of contrast, sharpness and blacks pushed to the limit; with marked shadows, the light is there. It is a style close to the comic ". The photo does not exist although the moment already feels that it carries the harpoon on its back. "It is necessary to complement two processes: a good photograph and a good edition. He did a lot of editing work ", "A photo, once you have taken it, you have worked on it, you have it finished, it loses part of its value for me. It is tremendous. It may be something subconscious, but once the process is complete, it loses its charm. And I do not stop finding defects. It also happens to me that the more I see a photo, it becomes devalued, it comes off the ability to surprise me. It is the essence of the predator. He needs new blood. A recent trail. The stimulus to capture prey that he has not yet seen.

Elias Achy

Lebanon
1999

Born and based in Lebanon, Elias Achy is an architect and self-taught photographer whose work reflects a blend for both passions. Through his artistic approach, he emphasizes the search for simplicity within the surrounding chaos, focusing on clean lines, geometry, abstraction, and minimalism. His photography captures the intricate relationships between space, structure and emotion, showcasing the beauty found in simplicity. Focusing on the architectural elements that often go unnoticed he invites the viewers to explore a fresh perspective on the world around them.

Arnaud Gaertner

France
1966

Born in 1966 in Nancy, France. Gaertner moved to Pennsylvania, US at the age of 3-6 (learned arnaud gaertnerto drink milk at school and sing the national anthem, never stopped!). He then spent 5 years in Rio de Janeiro, Brazil from age 10 to 16. Gaertner then travelled all over South America. He moved to Belgium for two years at the age of 16 and spent the next 12 years in in France. He took thousands of photos while traveling in North America, Asia Pacific, Europe, and the Middle East. He has resided in the Bay Area since 2012 with his wife Marine and their four sons. Gaertner is an explorer of California and its wonders.Series “In the middle of nowhere”, 2014In the middle of the Back Rock Desert, Nevada. In that Middle of Nowhere, 70 000 people camp in total autonomy for one week on a 30 million old dried lake, and on the main square, dozens, hundreds of art pieces, static or moving, are there, subject to the weather conditions: extreme heat, wind, dust storm. Most of the wooden art pieces are burned by the end of the week. As we speak all these moments are gone, people have left, art pieces returned into ashes, and I am glad these ephemeral moments are still alive through my photographs. This series is about the Ephemeral nature and Mystical dimension of the American desert.Artist statementBy 16 years of age, I had already visited more than 30 countries and had lived abroad, away from my home country France, for close to10 years in the United States, Brazil and Belgium. This decade opened my eyes to the diversity of the world, seen through its landscapes, people, cultures, sounds and tastes. I love people. I love getting to know others better. I love trying to understand who people are and what it is that makes them who they are. I made my first pictures when my Dad let me borrow his old camera while we were discovering the world, then he bought me a Kodak with Cube Flashes-this was my first camera and I have never stopped taking pictures since then. As an adult, I continue exploring all the continents. Photography keeps me connected to the magic of the planet. During my travels I have taken thousands of photos :f rom nature to cities, from diverse subjects to artists in their studios. This project, “In The Middle of Nowhere”, was born in the Black Rock Desert, Nevada, in September 2014. My son Baptiste had come to me and said “Dad, a friend of mine just came back from a crazy art festival in the desert called Burning Man”. Curious, we researched it and discovered something strange and amazing. For my first time at Burning Man I stayed only 3 days, but I took over 3000 pictures! My camera lens ended up ull of dust, but that probably added to the mystery of my images and the “sense of nowhere” I felt deeply. In the middle of nowhere, under 100 degrees Fahrenheit, cycling on a lake that dried 30 million years ago, 70 000 people live in total autonomy for one week where no money is exchanged, and hundreds of art pieces, static or moving, under the heat, in a dust storm, are admired by visitors in very creative costumes. Everything is burned by the end of the festival in a ritual of true “Ephemeral Art!” I seek to testify for the ephemeral, fleeting nature of these art pieces and unique moments made lasting by the photographic image. I try to capture the place, light, dusty wind that surround this eclectic eccentric happening. For this project I have selected about 30 im- ages out of 3000, helped by my two friends Gino Castoriano and Jules Maeght who are both gallerists. “In The Middle of Nowhere” is about people, places and art—those unique, ephemeral moments I capture through my images and that I want to share with you.

Désirée Dolron

Netherlands
1963

Désirée Dolron is a Dutch photographer and filmmaker. Her oeuvre ranges from documentary photography and still lifes to portraiture and film.Throughout her career, Dolron has been investigating themes such as the passing of time, the relation between finite and transcendent and the complexity and impermanence of the human condition. Dolron was awarded the 1996 Laureate Prix de Rome (Amsterdam, NL). Her work is represented in numerous international public and private collections including the Solomon R. Guggenheim Museum in New York, Collection H&F in Barcelona, Museo Nacional Centro de Arte Reina Sofia in Madrid, Gemeentemuseum in The Hague, Stedelijk Museum in Amsterdam, la Collection Neuflize Vie in Paris and the Victoria and Albert Museum in London. Désirée Dolron lives and works in Amsterdam. Source: desireedolron.com The meticulous attention to production details characterizes her body of work, and elements such as sound (or its absence –silence) are often used as important tools of narration, helping the viewer to enter into the conceptual depth of Dolron’s works. Both moving and still images are composed by the artist and manage to recreate a reality that is a-temporal, undefined yet extremely present. Desirée Dolron (1963 Haarlem, NL) was awarded the 1996 Laureate Prix de Rome (Amsterdam, NL), and her work is part of major international collections such as the Solomon R. Guggenheim Museum in New York (US), the Museo Nacional Centro de Arte Reina Sofía in Madrid (SP), the Stedelijk Museum in Amsterdam (NL), and the Victoria and Albert Museum, London (UK). Source: GRIMM Gallery

Michael Hrankowski

United States
1955

My first experience with photography came at age eight when my parents bought me a cheap “toy” film camera to play around with. In high school I enrolled in a photography class and I have had a camera by my side ever since. During my thirty-six years as a practicing dentist, I used a camera on a daily basis to document patient conditions and treatment outcomes. Starting in dental school, with a 35mm film camera and a bellows attachment, the technology progressed to a series of DSLRs with macro lenses and specialized flash set-ups. On weekends and vacations, those same DSLRs became my creative outlet. Since retiring from dentistry in 2019, I have devoted the bulk of my free time to artistic expression through photography. Statement My photography is all over the board ranging from Fine Art to Street and everything in between in a style that has been described as “quirky”. I simply photograph subjects I find interesting. Often this means taking pictures of things that would otherwise be overlooked - something mundane, an item discarded or in a state of decay, a close-up detail or something ordinary from an unusual perspective. It is not my practice to attach deep, philosophical interpretive ramblings to my images in an effort to explain their meaning. Rather, I prefer to let those images speak directly to the viewer. Art is, after all, in the eyes of the beholder.

Henry Horenstein

United States
1947

Born in Massachusetts in 1947, Henry Horenstein was on a path to becoming a historian when he discovered photography. Captivated by the work of Robert Frank and Danny Lyon, Horenstein entered the Rhode Island School of Design (RISD) where he studied with Harry Callahan and Aaron Siskind. After completing his MFA at RISD in 1973, Horenstein's first major project was a documentary survey of the people and character of country music. As a long-time fan, Horenstein recognized that the culture of country music was changing, losing the homey, down-to-earth character of "hillbilly" music, and adopting the slicker nature of contemporary country music. His goal was to preserve a vanishing culture by capturing it in photographs, and for nearly a decade, he traveled throughout the United States, documenting the artists and audiences at honky-tonk bars, outdoor festivals, and community dances. The body of work that Horenstein created (published in 2003 as Honky Tonk) is a remarkable portrait of a distinct period in American cultural history. Some of Horenstein's later work has followed a similar theme, creating documentary portraits of distinct American sub-cultures, such as the worlds of horse racing, boxing clubs, and baseball. In recent years, Horenstein has also developed an extensive body of work that combines elements of portraiture, abstraction, clinical documentation, and landscape photography. Working with animals as well as human subjects, Horenstein creates compelling and frequently ambiguous images that explore the patterns, textures and geography of skin, scales and hair. Mixing the exotic and the ordinary, and making it difficult to tell which is which, Horenstein causes the viewer to pause and look closely. In doing so, we are made to re-examine ourselves as well as the world around us. Horenstein's work has been exhibited in galleries and museums both nationally and internationally, including the Smithsonian Institution's National Museum of American History, Washington, D.C.; the International Museum of Photography, George Eastman House, Rochester, New York; the Museum of Fine Arts, Boston; and Fabrik der Kunste, Hamburg, Germany. Photographs by Henry Horenstein can be found in many public and private collections including the Library of Congress, the Museum of Fine Arts, Houston, and the High Museum of Art in Atlanta, Georgia. Horenstein is the author of over 30 books including several monographs and a series of highly successful photography textbooks that have been used by hundreds of thousands of students around the country. Horenstein currently lives in Boston and is a professor of photography at RISD. Henry Horenstein & Leslie Tucker: We Sort Of People

Rafał Michalak

Poland
1971

Lives and works in Wroclaw, Poland. He studied political science and public relations. Graduate of Academy of Art and Design in Wroclaw with a Master of Arts (Media Art Department). A member of The Association of Polish Art Photographers (ZPAF). He has been associated with the advertising industry and commercial photography for years. In his everyday work he deals with brand communication issues as well as visual identity development for companies and corporations. At the same time, he is actively engaged in creating his own original photography, thereafter presented in exhibitions and published in trade magazines. Winner of many photographic praises and commendations. Human being as individuality and its place in the so fast altering world are the key factors of Michalak’s photographic research. In his photography he is mostly consumed with transgression understood as a conscious and intentional exceeding of bounds and limits that we impose on ourselves or encounter. At the same time, it provides a way to learn more about the hidden depths and makes it possible to experience reality from different points of view. Transgressive approach has characterised Michalak’s personal style of representation, regardless of used technique and medium, ever since he knowingly engaged in fine-art photography. Transgression determines his personal choices in terms of subjects he approaches, and even more so, the message, i.e. the idea behind a photograph, which he believes to be essential.

Latest Interviews

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.

Read the full interview

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.

Read the full interview

Interview

Exclusive Interview with Anastasia Samoylova

Anastasia Samoylova is an American artist whose photographic practice is shaped by close observation and a deep attentiveness to place. Working between documentary and formal exploration, she photographs landscapes, architecture, and everyday scenes with a sensitivity to light, structure, and atmosphere. Since relocating to Miami in 2016, her work has increasingly focused on how environments—both natural and built—carry social, cultural, and emotional traces. We asked her a few questions about her practice and her way of seeing, to better understand the thoughts and experiences that shape her work—while allowing the images themselves to remain open and speak in their own time.

Read the full interview

Interview

Exclusive Interview with Marijn Fidder

Marijn Fidder is a Dutch documentary photographer whose work powerfully engages with current affairs and contemporary social issues. Driven by a deep sense of social justice, she uses photography to speak on behalf of the voiceless and to advocate for the rights of those who are most vulnerable. Her images have been widely published in major international outlets including National Geographic, CNN Style, NRC Handelsblad, Volkskrant, GUP New Talent, and ZEIT Magazin. Her long-term commitment to disability rights—particularly through years of work in Uganda—culminated in her acclaimed project Inclusive Nation, which earned her the title of Photographer of the Year 2025 at the All About Photo Awards. She is also the recipient of multiple prestigious honors, including awards from World Press Photo and the Global Peace Photo Award. We asked her a few questions about her life and work.

Read the full interview

Interview

Exclusive Interview with Josh S. Rose

Josh S. Rose is a multidisciplinary artist working across photography, film, and writing. His practice bridges visual and performing arts, with a strong focus on movement, emotion, and the expressive potential of the image. Known for his long-standing collaborations with leading dance companies and performers, Rose brings together authenticity and precise composition—a balance he describes as “technical romanticism.” His work has been commissioned and exhibited internationally, appearing in outlets such as Vogue, at the Super Bowl, in film festivals, and most recently as a large-scale installation for Lincoln Center for the Performing Arts. A sought-after collaborator, he has worked with major artists, cultural institutions, and brands, following a previous career as Chief Creative Officer at Interpublic Group and the founder of Humans Are Social. We asked him a few questions about his life and work.

Read the full interview

Interview

Interview with Maureen Ruddy Burkhart

Photographer Maureen Ruddy Burkhart brings a quietly attentive and deeply human sensibility to her exploration of the world through images. Shaped by a life immersed in photography, film, and visual storytelling, her work is guided by intuition, observation, and an enduring interest in the emotional undercurrents of everyday life. With a practice rooted in both fine art traditions and documentary awareness, she approaches her subjects with sensitivity, allowing subtle moments to emerge naturally rather than be imposed. Her series Til Death, selected as the Solo Exhibition for February 2025, reflects this long-standing commitment to photography as a space for reflection rather than spectacle. Drawn to moments that exist just outside the expected frame, Burkhart’s images suggest narratives without resolving them, leaving room for ambiguity, humor, and quiet connection. We asked her a few questions about her life and work.

Read the full interview

Interview

Exclusive Interview with Peter Ydeen

Winner of AAP Magazine #45 Travels, his series reflects this unique vision—capturing the spirit of place through subtle layers of light, color, and emotion. Whether traveling abroad or observing the rhythms of his own surroundings, Ydeen creates images that feel both grounded and enchanted, inviting viewers into a world where reality and reverie meet.

Read the full interview

Interview

Exclusive Interview with Julie Wang

Chinese-born photographer Julie Wang brings a poetic, contemplative sensitivity to her visual exploration of the world. Having lived for nearly equal parts of her life in China, Europe, and the United States, she approaches her subjects with the nuanced perspective of someone shaped by many cultures. This blend of distance, curiosity, and emotional resonance infuses her work with a quiet depth, allowing her to reveal the fragile beauty and subtle tensions that often pass unnoticed.

Read the full interview

Interview

Exclusive Interview with Ghawam Kouchaki

American photographer Ghawam Kouchaki brings a sharply observant and introspective gaze to the streets of Japan’s capital. Based in Los Angeles, he approaches Tokyo with the distance — and curiosity — of an outsider, allowing him to uncover the city’s subtle contradictions, quiet tensions, and fleeting gestures that often go unnoticed. His series Tokyo no no, selected as the Solo Exhibition for December 2024, explores the hidden undercurrents of urban life: the unspoken rules, the small ruptures in routine, the poetic strangeness found in everyday moments. Through muted tones, instinctive timing, and meticulous framing, Kouchaki reveals a Tokyo that exists somewhere between reality and imagination — both intimate and enigmatic. We asked him a few questions about his life and work.

Read the full interview

Sarah Moon

Galleries

Howard Greenberg Gallery

Fahey/Klein Gallery

Michael Hoppen Gallery

Sarah Moon's Video

Selected Books

Inspiring Portfolios

More Great Photographers To Discover

Latest Interviews