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FINAL DAYS TO WIN A SOLO EXHIBITION IN MAY 2026
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Daniel Grant
Daniel Grant
Daniel Grant

Daniel Grant

Country: United States

The images I produce tell a story of the experiences that I have had the opportunity to be a part of. My formative years were spent traveling through the United States, Mexico and Europe, where culture, art and the natural environment made a lasting impression. I searched for the best way to be expressive and to create my own unique form of storytelling. My voice was found through the novel and unique views of the toy cameras: ‘Holga’ and ‘Diana.’ these cameras were first produced in the 1960’s as children’s toys. Today they have a cult following with photographers, not because of their perfection, but for their lack of precision, control and focus. By taking away the technical aspect of picture making, a sincere representation of the subject matter and vision of the photographer becomes evident.

Daniel grant is a landscape architect and fine art photographer residing in San Francisco, California.

Website

www.danielgrantphotography.com

 

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O. Winston Link
O. Winston Link
United States
1914 | † 2001
Ogle Winston Link (December 16, 1914 – January 30, 2001), known commonly as O. Winston Link, was an American photographer, best known for his black-and-white photography and sound recordings of the last days of steam locomotive railroading on the Norfolk & Western in the United States in the late 1950s. A commercial photographer, Link helped establish rail photography as a hobby. He also pioneered night photography, producing several well-known examples including Hotshot Eastbound, a photograph of a steam train passing a drive-in movie theater, and Hawksbill Creek Swimming Hole showing a train crossing a bridge above children bathing. O. Winston Link and his siblings, Eleanor and Albert Jr., spent their childhood in the borough of Brooklyn, New York City, where they lived with their parents, Albert Link, Sr. and Anne Winston Jones Link. Link's given names honor ancestors Alexander Ogle and John Winston Jones, who had served in the U.S. House of Representatives in the 19th century. Al Link taught woodworking in the New York City Public School system, and encouraged his children's interest in arts and crafts, and first introduced Winston to photography. Link's early photography was created with a borrowed medium format Autographic Kodak camera. By the time he was in high school, he had built his own photographic enlarger. After completing high school, Link attended the Polytechnic Institute of Brooklyn, receiving a degree in civil engineering. Before his graduation in 1937, he spoke at a banquet for the institute's newspaper, where he served as photo editor. An executive from Carl Byoir's public relations firm was present and was impressed by Link's speaking ability. He offered Link a job as a photographer. O. Winston Link worked for Carl Byoir and Associates for five years, learning his trade on the job. He adapted to the technique of making posed photographs looking candid, as well as creatively emphasizing a point. On his first major assignment, to photograph part of the state of Louisiana in the summer of 1937, he found himself in New Iberia, the location where Cecil B. DeMille's 1938 movie "The Buccaneer", about Jean LaFitte was being filmed. Here he met his future first wife, a former Miss Ark-La-Tex, now actress/model/body double, Vanda Marteal Oglesby, who stood-in for lead actress Franciska Gaal. They 'took a shine' to one another and later that year she posed for some of his photographs in the French Quarter of New Orleans. They eventually married in 1942, but later divorced. Some of Link's photographs from this time included an image of a man aiming a gun at a pig wearing a bulletproof vest, and one eventually known as What Is This Girl Selling? or Girl on Ice, which was widely published in the United States and later featured in Life as a "classic publicity picture. According to Thomas Garver, a later assistant to Link, during his employment at Byoir's firm, Link "clearly defined a point of view and developed working methods that were to shape his entire career." While in Staunton, Virginia, for an industrial photography job in 1955, O. Winston Link's longstanding love of railroads became focused on the nearby Norfolk and Western Railway line. N&W was the last major (Class I) railroad to make the transition from steam to diesel motive power and had refined its use of steam locomotives, earning a reputation for "precision transportation." Link took his first night photograph of the road on January 21, 1955, in Waynesboro, Virginia. On May 29, 1955 the N&W announced its first conversion to diesel and Link's work became a documentation of the end of the steam era. He returned to Virginia for about twenty visits to continue photographing the N&W. His last night shot was taken in 1959 and the last of all in 1960, the year the road completed the transition to diesel, by which time he had accumulated 2400 negatives on the project. Although it was entirely self-financed, Link's work was encouraged and facilitated by N&W officials, from President Robert Hall Smith downwards. Besides the locomotives, he captured the people of the N&W performing their jobs on the railroad and in the trackside communities. Some of his images were of the massive Roanoke Shops, where the company had long built and maintained its own locomotives. O. Winston Link's images were always meticulously set up and posed, and he chose to take most of his railroad photographs at night. He said "I can't move the sun — and it's always in the wrong place — and I can't even move the tracks, so I had to create my own environment through lighting." Although others, including Philip Hastings and Jim Shaughnessy, had photographed locomotives at night before, Link's vision required him to develop new techniques for flash photography of such large subjects. For instance, the movie theater image Hotshot Eastbound (Iaeger, West Virginia), photographed on August 2, 1956 [negative NW1103], used 42 #2 flashbulbs and one #0 fired simultaneously. Link, with an assistant such as George Thom, had to lug all his equipment into position and wire it up: this was done in series so any failure would prevent a picture being taken at all; and in taking night shots of moving trains the right position for the subject could only be guessed at. Link used a 4 x 5 Graphic View view camera with black and white film, from which he produced silver gelatin prints. From 1960 until he retired in 1983 Link devoted himself to advertising. Among notable pictures taken during this period are those recording construction of the Verrazano-Narrows Bridge and other views of New York Harbor including the great ocean liners. In retirement, Link moved to South Salem, Westchester County, New York. In 1996, Link's second wife, Conchita, was arrested for (and later convicted of) stealing a collection of Link's photographs and attempting to sell them, claiming that Link had Alzheimer's disease and that she had power of attorney. She served six years in prison. After being released, she again attempted to sell some of Link's works that she had stolen, this time using the Internet auction site eBay. She received a three-year sentence. Conchita was also accused of imprisoning her husband. However, this allegation is disputed by some, and it never led to any criminal charges against Conchita. The story of Winston and Conchita became the subject of the documentary "The Photographer, His Wife, Her Lover" (2005) made by Paul Yule. Link made a cameo appearance as a steam locomotive engineer in the 1999 film October Sky. He was actively involved with the planning of a museum of his work when he suffered a heart attack near his home in South Salem. He was transported to Northern Westchester Hospital in Mt. Kisco, Westchester County, NY where he died on January 30, 2001. Mr. Link was interred adjacent to his parents in Elmwood Cemetery, Shepherdstown, Jefferson County, West Virginia.Source: Wikipedia Link's reasons for shooting at night were simple. For one, it was more romantic and dramatic. For Link the trains were comparable to Garbo and Dietrich at their most glamorous. Secondly, steam from the trains against a night sky photographed white. Against a day sky it came out a dirty grey. Whatever the circumstances, Link's pictures were an intense labor of love. Indeed, he discovered, shortly after starting the Norfolk and Western project, that no one was much interested in photographs of a fast disappearing mode of transport. This was, after all, the beginning of the era of the great American car. At first Link's photographs were appreciated for their combination of nostalgia, technical virtuosity, and – partly due to Link's famously cranky character and disposition - almost outsider artist's vision. But as photography has moved on, Link's work is increasingly seen and appreciated for the degree to which he controlled, planned, and constructed each image, prefiguring such well known contemporary artists as Gregory Crewdson and Jeff Wall, both of whom willingly acknowledge their interest in and appreciation of Link's work. His work has been exhibited throughout the U.S., Europe and in Japan and is present in numerous major museum collections around the world. His rail photography is exhibited at the O. Winston Link Museum in Roanoke, Virginia, refurbished by the famous industrial designer, Raymond Loewy, which opened in 2004.Source: Danziger Gallery
Jackson Patterson
Jackson Patterson
United States
1975
Jackson Patterson received an MFA from the San Francisco Art Institute in 2009. He began his process in Arizona where he grew up. Exposed to the expansive landscapes throughout the west Jackson laid foundation for his appreciation for the land and the human story within it. He continues to tell the stories of his family and others intertwined with the majestic landscapes in his photomontages. Patterson’s images breathe insight into representation, fabrication, visual language and the relationship of earth and people.He has been exhibiting his photographs in Hong Kong, London, Pennsylvania, Vermont, Texas, Colorado, Oregon, California and Arizona since 2000 at the Houston Center for Photography, the Museum of Contemporary Craft, Morris Graves Museum of Art, the Pendleton Art Center, the Center for Fine Art Photography, and at the David Brower Center. His work is in various private collections and in the Paul Sack Collection at the SFMOMA. He was recently awarded the Renaissance Photography Prize 2013 for best single image, the International Photography Awards 1st place in 2014, and was a Photo Lucida Critical Mass top 50 photographer in 2015. Jackson currently resides and works in Chicago.
Susan Meiselas
Susan Meiselas
United States
1948
Susan Meiselas is a documentary photographer who lives and works in New York. She is the author of Carnival Strippers (1976), Nicaragua (1981), Kurdistan: In the Shadow of History (1997), Pandora's Box (2001), Encounters with the Dani (2003) Prince Street Girls (2016), A Room Of Their Own (2017) and Tar Beach (2020). She has co-edited two published collections: El Salvador, Work of 30 Photographers (1983) and Chile from Within (1990), rereleased as an e-book in 2013, and also co-directed two films: Living at Risk (1985) and Pictures from a Revolution (1991) with Richard P. Rogers and Alfred Guzzetti. Meiselas is well known for her documentation of human rights issues in Latin America. Her photographs are included in North American and international collections. In 1992 she was made a MacArthur Fellow, received a Guggenheim Fellowship (2015), and most recently the Deutsche Börse Photography Foundation Prize (2019) and the first Women in Motion Award from Kering and the Rencontres Internationales de la Photographie d'Arles. Mediations, a survey exhibition of her work from the 1970s to present was recently exhibited at the Fundació Antoni Tàpies, Jeu de Paume, San Francisco Museum of Modern Art and the Instituto Moreira Salles in São Paulo. She has been the President of the Magnum Foundation since 2007, which supports, trains, and mentors the next generation of in-depth documentary photographers and innovative practice. About Nicaragua Susan Meiselas became known through her photo reportages on the Nicaraguan revolution. From 1978 to 1982 she documented the uprising of the Sandinistas against the then president Anastasio Somoza Debayle. Some of her photographs, foremost among them the “Molotov Man”, became iconic media images and shaped the way the Latin American revolution was perceived in the West. About Carnival Strippers The role of women has been a focal point of Meiselas’ work ever since the 1970s. In her first major photographic essay entitled Carnival Strippers (1972-1975), she showcased the working conditions of women who earned a living working as strippers at fairs in New England. She combined her photographs with audio recordings of the women, their clients, and their managers. In this project Meiselas depicts the reality of life for these protagonists and lets them tell their own stories, thereby strengthening their feeling of self-worth and their personal identity. About Prince Street Girls For the series Prince Street Girls, she accompanied young girls in Little Italy, New York City over a period of seventeen years - from childhood to puberty and on into adulthood. The photographs illustrate the gradual changes in their lives, their bodies, and their place within society. About Archive of Abuse In her series Archive of Abuse Susan Meiselas addressed the issue of domestic abuse. In the early 1990s, the photographer was invited to support an awareness-raising campaign in San Francisco on the subject of domestic violence. Meiselas used material from police reports to focus on documenting the crimes, both visually and in text. The collages created in this way were posted in public spaces to raise people’s awareness of the many different forms of violence towards women as a structural phenomenon. About Kurdistan Meiselas’ starting point for her long-term project Kurdistan was the documentation of the genocide perpetrated against the Kurds by the Iraqi regime under Saddam Hussein in northern Iraq in 1988. She created an archive that preserves a people’s cultural memory and the chequered history of the Kurdish diaspora. The multimedia project comprises photographs, videos, documents, and oral accounts compiled by the artist over a period of more than thirty years.Source: Kunst Haus Wien
Jens Juul
Jens Juul
Denmark
My name is Jens Juul, and I'm a photographer. I'm trained as both photographer and portrait painter and have also done graphic design for years. I recently won the portraiture category in The Sony World Photography Awards with my series Six Degrees.About my way of working with photography: Strong impressions form the motive power of my work. Behind a strong impression always lies an interesting and often untold story. Of course the strong impressions can be seen on the news, where we daily watch pictures from global hot spots or places hit by sudden disasters. These pictures any photographer can chase in competition with other photographers with access to the same news channels. But apart from the spectacular and crisis hit places I actually believe that strong impressions can be found around all of us. My morning bike ride to take my children to school is often cause of great inspiration. The story is right on your doorstep. It is just a matter of seeing it and of really seeing the people who are part of the tapestry of your daily life, and then of finding your angle and the courage to step across the boundary between yourself and other people formed by each person¹s privacy sphere even to those strangers who may at times seem dangerous and intimidating. of Copenhagen.About Six Degrees of Copenhagen: My photo series Six Degrees of Copenhagen is a textbook example of breaking this boundary. The way I work is that I approach someone I don't know, be it on the street, in a supermarket or at a social event. I ask if I can portray them in their homes and then I pay them a visit. The visit usually lasts a couple of hours or however long it takes to break the ice and get just the right shot of the subject. I then ask them to pass the torch so to speak and recommend someone in their own network that I can portray in the same way. I got the idea from the theory of six degrees of separation - the notion that all people on Earth are connected in the sixth degree. There is nothing scientific about my work, though, and I'm not trying to show the extent of human networks. It is a way of working that magically enables me to travel through a city and meeting its inhabitants. I've come across all walks of life, old and young, and I have seen many different ways of life. If you meet people without prejudice and with a lot of curiosity it really is amazing how willing they are to share their experiences and the insights they've gained. In that way my work is a journey into the minds and lives of other people.About Inmates: A third project I am working on is a book project about being an inmate in a prison. The Inmate project takes its point of departure in a profound curiosity regarding the consequences of being punished with long-term imprisonment to someone's life. The project focuses on the life conditions of long-term inmates in Danish prisons. What do inmates think about their own lives, their relationships with people both inside and out of prison, and what kinds of hopes and expectations do they have about the future? The project will be using a combination of interviews, portraits and picture documentation of the everyday life in Danish prisons to tell the story of inmates. The aim is to publish a book with ten interviews and approximately 75 pictures. I'm looking into crowd funding possibilities, and am also considering making an electronic version that would keep production costs down and provide a possibility of layering information. Through the Danish Prison and Probation Service I have been granted access to the Danish prisons. In some prisons I have only been allowed to take pictures of architectural details. In other prisons I have been escorted around by prison employees, who have opened and locked doors for me, and walked me through the different parts of the prison. In yet other places I have been permitted to move around freely, and take all the pictures I wanted, as long as I got permission from the inmates first. In total I have been granted a much higher degree of access than I had ever dreamt of when I made the first phone call in order to get into prison. But why on Earth, one might ask, am I giving criminals that have harmed fellow human beings a chance to express themselves? And why would I offer them to have their portraits and pictures of their everyday life grace the pages of a book, and even do so in a book looking all luxurious with big pictures? The answer is simple, really: Because their voices to a large extent are missing in the public debate. There are black holes, so to speak, in the public's map when it comes to the realities and consequences of incarceration. What is it like? Really? In Denmark, imprisonment is largely seen as punishment, but with an agenda of offering possibilities for resocialization, and only severely hardened or mentally ill inmates have little prospect of ever getting out. However, reality is that resocialization is difficult, even in a social-liberal welfare state like Denmark. The question then is: if prison breeds more criminals, how does society benefit from locking people away? It is my ambition to start a public debate about the relationship between justice, punishment, revenge and resocialization that will hopefully engage both the public and the politicians. Each year, so many families live with the consequences of crime. Children of criminals and victims alike are growing up with the effects of crime and punishment. So we'd better make it count! And to return to the relationship to our personal networks and the use of them, my work inside the prison walls has shown me that much crime is committed by individuals whose networks have been insufficiently present. A lack of care and love early in life, but also a lack of engagement from the personal circle of acquaintances. Instead of stepping in when people are in trouble, we turn our heads away to avoid becoming a part of the problem. A lot of human misery could be avoided if only we dared to get involved and show some interest in the lives of our fellow human beings!Awards:2013 Winner of the Sony World Photography Awards 2013 in the portraiture category2013 Finalist in KL International Photoawards 2013 in the Portrait Category.2013 Selected for a Spotlight Award in the Black & White Portfolio Contest 20132013 4th place for the Su-ture 1st Edition by Gomma, 2013
Michael Joseph
Michael Joseph
United States
1977
Michael Joseph is a street portrait and documentary photographer. Raised just outside of New York City, his inspirations are drawn from interactions with strangers on city streets and aims to afford his audience the same experience through his photographs. His portraits are made on the street, unplanned and up close to allow the viewer to explore the immediate and unseen. Michael's project “Lost and Found” has been featured on CNN.com, AllAboutPhoto.com and published in magazines internationally. He has been exhibited nationally, notably at Daniel Cooney Fine Art (New York, NY), the Aperture Gallery (New York, NY), Project Basho Gallery (Philadelphia, PA) as well as the Rayko Gallery (San Francisco, CA). He has lectured for Amy Arbus at the International Center of Photography (New York, NY) in portraiture classes at the New England School of Photography (Boston, MA) and taught at the Light Factory (Charlotte, NC). His portraits are held in the permanent collection at the Fort Wayne Museum of Art in Indiana and private collections. He is a 2016 Photolucida Top 50 winner, LensCulture Portrait Award Finalist and a recipient of the fellowship in photography from the Massachusetts Cultural Council. Statement about the "Lost and Found" "We have secrets about traveling you wouldn't believe and we share with no one but ourselves."Huck Lost and Found is a portrait series that examines the individual souls of lost youth who abandon home to travel around the country by hitchhiking and freight train hopping. Within their personal journey driven by wanderlust, escapism or a search for transient jobs, they find a new family in their traveling friends. They are photographed on public streets using natural light, in the space in which they are found. Like graffiti on the walls of the city streets they inhabit and the trains they ride, their bodies and faces become the visual storybook of their lives. Their clothing is often a mismatch of found items. Jackets, pants and vests are self-made like a patchwork quilt, using fabric pieces of a fellow traveler's clothing embellished by metal bottle caps, buttons, safety pins, lighter parts, syringe caps, and patches. The high of freedom however, does not come without consequence. Their lifestyle is physically risky and rampant with substance abuse. Each traveler's story is different, but they are bound by a sense of community. Often unseen and mistaken by their appearances, they are some of the kindest people one might meet. Their souls are open and their gift is time. As one states, “They will give you their time because time is all they have.” And in some cases, in the family they have lost, they have found each other. Find out more about Michael Joseph in this article
Davide Monteleone
Davide Monteleone
Italy
1974
Davide Monteleone is a photographer, researcher, and a National Geographic Fellow. He works on long-term project using photography video and text, exploring the relation between structures of Power and individuals. Known for his specific interest in the post-soviet countries, he published five books: Dusha, Russian Soul in 2007, La Linea Inesistente, in 2009, Red Thistle in 2012 and Spasibo in 2013, The April Theses, 2017. His projects have brought him numerous awards, including several World Press Photo prizes, and grants such as the Aftermath Grant, European Publishers Award and Carmignac Photojournalism Award. He regularly contributes for leading publications all over the world, and his projects have been presented as installations, exhibitions and screenings at festivals and galleries worldwide including the Nobel Peace Center in Oslo, Saatchi Gallery in London, MEP in Paris and Palazzo delle Esposizioni in Rome. He is engaged with educational activities, regularly lecturing at universities and teaching workshops internationally. Italian photographer born in 1974, member of VU’ Agency since 2017, based in Zürich (Switzerland) After beginning engineering studies, David Monteleone quickly turned to journalism and photography. Holding a Master research in Art and Politics from the Goldsmiths University in London, he first worked as an agency correspondent in Moscow from 2001 to 2003. Since 2003, Davide Monteleone’s documentary photographic writing has enabled him to carry out, between Italy and Russia, numerous editorial assignments and regular collaborations with prestigious international press titles (TIME Magazine, The New Yorker, National Geographic, etc.). He also develops long-term personal projects focused on social issues and conflictual relationship between Power and individuals. Particularly committed to documenting the survivals and new aspirations of the post-Soviet world, he published his first book Dusha, Russian Soul in 2007, followed by La Liena Inesistente in 2009, Red Thistle in 2012, Spasibo in 2013 , « The April Theses » in 2017 and « In The Russian East » in 2019. In 2014, he goes beyond the borders of the post-Soviet territories and initiates a work – still in progress – about geopolitical, socio-economic, and environmental impact of the New Silk Roads (“Yi Dai Yi Lu”) and thus about Chinese expansion on several continents. Exhibited in many countries, his work has received prestigious awards, among which several World Press Photo awards (2007, 2009, 2011), the Aftermath Project award (2010), the European Publishers Award for Photography (2011), the European Photo Exhibition Award (2012), the Carmignac Prize for photojournalism (2013), the Asia Society Fellowship (2016) or the National Geographic Storytelling Fellowship (2019-2020).Source: VU' l'agence
Kyle Everett Smith
Kyle Everett Smith
United States
1991
Kyle Everett Smith is a photographer from Leucadia, California. He is currently studying at Glendale Community College working towards a B.A. in Photography. Smith's work focuses on mundane landscapes of modern environments. He is an avid skateboarder and outdoors enthusiast currently residing in Los Angeles, California.
Zanele Muholi
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
Guillermo Espinosa
Guillermo Espinosa
Spain
1985
Guillermo Espinosa is a Spanish photographer born in Madrid in 1985 and currently based in Berlin. He studied Graphic arts and wine making in Madrid. He started in photography around 7 years ago, making pictures in the streets of Madrid with an old reflex camera. Later on he moved to Germany to work as a waiter. It was then when he saw the potential of street photography as a way to grow personally and escape from the routine. Since then he has combined his job as a waiter with some jobs related to photography such as Cruiseship photographer or photographer for a german decoration shop. He is currently involved in a few ongoing street photography projects in the city of Berlin. Statement My artwork is about the relation between the human being and the public enviroment, searching for the insual in the usual or mundane. Trying to find candid moments in the dalily life using what the enviroment gives me, such a light, subjects, geometry, etc. Another distinguising feature is the friction created by the layers (physical or conceptual). I have been always attracted by the contrasts that happen in everyday life, the juxtaposition in any "normal" situation that can create many humoristic, visual or critic lectures. Even a frontal shot of a character on the street can be read in many different ways depending on the viewer, place or epoque. My main aproach is to create a connection with the viewer that can go beyond the aesthetics, making an image more than a 2D object that comfrontes the previous concept of the daily life
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Exclusive Interview with Luca Desienna and Laura Estelle Barmwoldt
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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.
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Exclusive Interview with Matthew Finley
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American photographer Matthew Finley turns inward, using photography as a way to explore identity, memory, and emotional truth. Based in Los Angeles, his practice moves between performance, gesture, and found imagery, creating a visual language that is both intimate and deeply personal
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Exclusive Interview with Jan Janssen
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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
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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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Exclusive Interview with Anastasia Samoylova
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Exclusive Interview with Marijn Fidder
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Exclusive Interview with Marijn Fidder
Marijn Fidder is a Dutch documentary photographer whose work powerfully engages with current affairs and contemporary social issues. Driven by a deep sense of social justice, she uses photography to speak on behalf of the voiceless and to advocate for the rights of those who are most vulnerable. Her images have been widely published in major international outlets including National Geographic, CNN Style, NRC Handelsblad, Volkskrant, GUP New Talent, and ZEIT Magazin. Her long-term commitment to disability rights—particularly through years of work in Uganda—culminated in her acclaimed project Inclusive Nation, which earned her the title of Photographer of the Year 2025 at the All About Photo Awards. She is also the recipient of multiple prestigious honors, including awards from World Press Photo and the Global Peace Photo Award. We asked her a few questions about her life and work.
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Exclusive Interview with Josh S. Rose
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.
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Interview with Maureen Ruddy Burkhart
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.
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Exclusive Interview with Peter Ydeen
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.
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