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Sandra Jonkers
Sandra Jonkers
Sandra Jonkers

Sandra Jonkers

Country: Netherlands
Birth: 1974

Sandra Jonkers was born in 1974 in Rotterdam, the Netherlands. She has been photographing since 2011 and gradually become one of the most prominent street photographers in the Netherlands. As equipment, she has her camera and her scooter.

When I became acquainted with photography, I have started to experiment with all sorts of forms of photography. It was a big discovery to reveal the dynamics in the most mundane moments on the street, that have turned out suddenly and stay so out of routine. The little things that you normally pass by were all of a sudden special and interesting.

I, therefore, started to see street photography as an enrichment of myself. If you are serious about street photography, you will experience it as a way of life. Capturing a moment that never and never comes back. No one else has seen it as you have recorded it. This way of seeing photography makes me very happy.

What I need to see in street photography is storytelling scenes, powerful street portraits and purity. Because for a good street photo you have to have courage. Not being afraid of approaching people, candid, is 'key' in this.I like powerful intense looks.

What you see in my photography is who I am.

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Raw Streetphoto Gallery

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@sandrajonkersstreets

 

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More Great Photographers To Discover

El Lissitzky
El Lissitzky
Russia
1890 | † 1941
Lazar Markovich Lissitzky, known as El Lissitzky, was a Russian artist, designer, photographer, typographer, polemicist and architect. He was an important figure of the Russian avant-garde, helping develop suprematism with his mentor, Kazimir Malevich, and designing numerous exhibition displays and propaganda works for the Soviet Union. His work greatly influenced the Bauhaus and constructivist movements, and he experimented with production techniques and stylistic devices that would go on to dominate 20th-century graphic design. Lissitzky's entire career was laced with the belief that the artist could be an agent for change, later summarized with his edict, "das zielbewußte Schaffen" (goal-oriented creation). Lissitzky, of Lithuanian Jewish оrigin, began his career illustrating Yiddish children's books in an effort to promote Jewish culture in Russia. When only 15 he started teaching, a duty he would maintain for most of his life. Over the years, he taught in a variety of positions, schools, and artistic media, spreading and exchanging ideas. He took this ethic with him when he worked with Malevich in heading the suprematist art group UNOVIS, when he developed a variant suprematist series of his own, Proun, and further still in 1921, when he took up a job as the Russian cultural ambassador to Weimar Germany, working with and influencing important figures of the Bauhaus and De Stijl movements during his stay. In his remaining years he brought significant innovation and change to typography, exhibition design, photomontage, and book design, producing critically respected works and winning international acclaim for his exhibition design. This continued until his deathbed, where in 1941 he produced one of his last works – a Soviet propaganda poster rallying the people to construct more tanks for the fight against Nazi Germany. In 2014, the heirs of the artist, in collaboration with Van Abbemuseum and leading worldwide scholars on the subject, established the Lissitzky Foundation in order to preserve the artist's legacy and to prepare a catalogue raisonné of the artist's oeuvre.Source: Tate Margarita Tupitsyn included the essays by Ulrich Pohlmann and Mathew Drutt in her book Beyond the Abstract Cabinet (1999). This book was aimed at an audience with an interest in Russian photography and modernism. The essays in this book brought Lissitzky’s work to limelight. The essays mention various aspect of his work. From 1922 to 1925, Lissitzky experimented with photograph collage and photograms. While working on photograms, Lissitzky experimented with photomontage as well. He was able to achieve vibrant compositions using several printing exposures in order to utilize the effects of transparency. These experiments help him in many advertisements he produced starting from 1924 until 1925. Lissitzky was among the first avant-gardists to revive the photogram or cameraless photographic image, combining this technique with experiments in montage to generate fantastic portraits and design proposals. Largely using photography, Lissitzky also rethought the illustrated book as an architectural form, to be tabbed through, unfolded in all directions, and made into a fully three-dimensional object. These many ideas were deployed in the service of artists and arts organizations, as well as, above all, institutions of the Soviet state, on whose behalf Lissitzky was committed to “influencing the human psyche” collectively and in the public realm. He survived the reversals of fortune suffered by so many politically committed artists in the 1930s but had chronically poor health and died of tuberculosis.Source: The Art Institute of Chicago
Stephen Wilkes
Stephen Wilkes
United States
1957
Since opening his studio in New York City in 1983, photographer Stephen Wilkes has built an unprecedented body of work and a reputation as one of America's most iconic photographers, widely recognized for his fine art, editorial and commercial work. His photographs are included in the collections of the George Eastman Museum, James A. Michener Art Museum, Houston Museum of Fine Arts, Dow Jones Collection, Carl & Marilynn Thoma Art Foundation, Jewish Museum of NY, Library of Congress, Snite Museum of Art, The Historic New Orleans Collection, Museum of the City of New York, 9/11 Memorial Museum and numerous private collections. His editorial work has appeared in, and on the covers of leading publications such as the New York Times Magazine, Vanity Fair, Time, Fortune, National Geographic, Sports Illustrated , and many others. Wilkes' early career interpretations of Mainland China, California's Highway One, and impressionistic "Burned Objects" set the tone for a series of career-defining projects that catapulted him to the top of the photographic landscape. In 1998, a one-day assignment to the south side of Ellis Island led to a 5-year photographic study of the island's long abandoned medical wards where immigrants were detained before they could enter America. Through his photographs and video, Wilkes helped secure $6 million toward the restoration of the south side of the island. A monograph based on the work, Ellis Island: Ghosts of Freedom, was published in 2006 and was named one of TIME magazine's 5 Best Photography Books of the Year. The work was also featured on NPR and CBS Sunday Morning. In 2000, Epson America commissioned Wilkes to create a millennial portrait of the United States, "America In Detail," a 52-day odyssey that was exhibited in New York, Chicago, Los Angeles, and San Francisco. Day to Night , Wilkes' most defining project, began in 2009. These epic cityscapes and landscapes, portrayed from a fixed camera angle for up to 30 hours capture fleeting moments of humanity as light passes in front of his lens over the course of a full day. Blending these images into a single photograph takes months to complete. Day to Night has been featured on CBS Sunday Morning as well as dozens of other prominent media outlets and, with a grant from the National Geographic Society , was extended to include America's National Parks in celebration of their centennial anniversary and Bird Migration for the 2018 Year of the Bird. Most recently a new grant was extended for Canadian Iconic Species and Habitats at Risk in collaboration with The Royal Canadian Geographic Society. Day to Night : In the Field with Stephen Wilkes was exhibited at The National Geographic Museum in 2018. Day to Night was published by TASCHEN as a monograph in 2019. Wilkes' work documenting the ravages of Hurricanes Katrina and Sandy has brought heightened awareness to the realities of global climate change. He was commissioned by the Annenberg Space for Photography to revisit New Orleans in 2013 after documenting Hurricane Katrina for the World Monuments Fund. And, his images were exhibited with his photographs on Hurricane Sandy in the 2014 Sink or Swim, Designing for a Sea of Change exhibition. Wilkes directorial debut, the documentary film, Jay Myself , world premiered at DOCNYC in November 2018. The film is an in depth look into the world of photographer Jay Maisel and his move out of his 35,000 sq. foot building at 190 Bowery. Oscilloscope Laboratories has acquired the North American rights and the film opened at Film Forum in New York in July, 2019 Wilkes was a speaker at the TED2016: Dream Conference on his Day to Night series. The talk has over 1.6 million views. In 2017 Wilkes was commissioned by the US Embassy, Ottawa to create a Day to Night photograph of Canada's 150th anniversary of Confederation. Despite his intense dedication to personal projects, Wilkes continues to shoot advertising campaigns for the world's leading agencies and corporations, including: Netflix, OppenheimerFunds, SAP, IBM, Capital One, The New Yorker, Johnson & Johnson, DHL, American Express, Nike, Sony, Verizon, IBM, AT&T, Rolex, Honda. He has a robust following on Instagram of more than 500,000. Wilkes' extensive awards and honors include the Alfred Eisenstaedt Award for Magazine Photography, Photographer of the Year from Adweek Magazine, Fine Art Photographer of the Year 2004 Lucie Award, TIME Magazine Top 10 Photographs of 2012, Sony World Photography Professional Award 2012, Adobe Breakthrough Photography Award 2012 and Prix Pictet, Consumption 2014. His board affiliations include the Advisory Board of the S.I. Newhouse School of Communications; Save Ellis Island Board of Directors, on which he served for 5 years; and the Goldring Arts Journalism Board. Wilkes was born in 1957 in New York. He received his BS in photography from Syracuse University S.I. Newhouse School of Public Communications with a minor in business management from the Whitman School of Management in 1980. Wilkes, who lives and maintains his studio in Westport, CT, is represented by Bryce Wolkowitz Gallery, New York; Fahey Klein Gallery, Los Angeles; Monroe Gallery of Photography, Santa Fe and Holden Luntz Gallery, Palm Beach..
Stefano Fristachi
Stefano Fristachi
Italian
Italian photographer and photojournalist, lives in Barcelona. He currently works as a freelance with international magazines and works with production agencies. The interest in all social characteristics opens his vision to Anthropological Photography and Reportage, which allow him to better express the feelings of empathy and understanding of the world, and to deepen his interests in all issues of geopolitics and current affairs. Humanidade The warm humanity, the charm of the popular world of Bahia, of the island of Boipeba, and its characters that animate the colorful landscape with their daily struggles and hopes. Their original humor, the wealth that sweats through the adventures of their stories. They live, immersed in their smells, in their instincts, in contradictions and pains, immersed in the shade of palm trees, protected by the coral reef, among a thousand types of mango, fragrant, sweet to the point of redeeming at least in part the echo of the ancient colonialism. The human race beyond all, that work of God conceived in a week, the human race always alive as a burning wound, a beauty, a rot. An eternal fire, death and resurrection, the human race like a diamond, a drop; the human race is the mine of loneliness, the human race is a scratch, a doodle, the face of desire. A great divine synthesis. A subtropical tradition veiled by a flavor of realism with vivid tones, strong accents, a magical realism, a sort of intrinsic narrative power. Rapid images, sometimes suffocating, due to the temperatures, emotional images of poor morality but animated by a turgid variety, the same that populates the lush Bahia. Nobility of mind, baseness of every order and rank, hunger, thirst, disease, and sex, so much sex, that climbs wet everywhere.
Filippo Poli
Filippo Poli
Italy
1978
Filippo Poli, an architect by training, is based in Milan and has worked as a photographer since 2008 with architecture studios, foundations, and publishers. His personal projects explore the cultural landscape and the evolving relationship between humans and nature, along with its consequences. His work appears in leading international magazines and publications. He received numerous accolades: 5th National New Photographic Vision León (2025), Enaire Foundation (2017, 2025), Architecture Photography Master Interior, PX3 Paris, ND Awards, Hopper Prize, Arles OFF (La Kabine), IPA Prize, Monochrome, FotoDoc, Arte Laguna, and PhotoEspaña Master Scholarship. Exhibitions include a solo show in León (2025), Dispara Gallery (collective Quatro Amigos), PhotoEspaña (2017, 2025), Venice Biennale, Climate Summit (COP25, 2019), ARCO Madrid (2018), and Vila Casas Foundation. His photographs are in public and private collections, including Enaire Foundation, Deutsches Architekturmuseum (Frankfurt), and Basho Gallery (USA). Roças of São Tomé: an [almost] lost treasure Discovering São Tomé and Príncipe is like going to an island that does not exist, so small that it does not appear on maps, and it is hard to notice it in the Gulf of Guinea—but all of us, sooner or later, have tasted a piece of it. In the mid-nineteenth century, this tropical land, made up of two islands lying on the equator, 300 km from the African coast, became the world’s largest cocoa producer. On this island, the cocoa plant found its perfect habitat and labor at will, cheaply imported from Cape Verde and the nearby African continent. It is not clear, even today, whether the archipelago was, before the arrival of the colonizers, uninhabited or already populated by people of Angolan origin. What is certain is that, from the 15th century, the island’s economy was primarily based on sugar cane production as well as the slave trade. For centuries, the island served as a classification hub for African deportees, who were embarked on ships of European powers to be sold in the American colonies. It was only in the 19th century that São Tomé and Príncipe became a wealthy colony, when Portuguese settlers founded large farms to grow coffee and cocoa. This lasted until 1869, when a slow decline began following the abolition of slavery, due to workers’ rebellions and the international boycott against the “slave cocoa” of the Portuguese colony. The production system endured until 1975; the last companies closed in 1990, and since then, this place has fallen into relative oblivion. A remarkable architectural heritage, however, still remains: the “roças.” This Portuguese term refers to the complex system of land exploitation that shaped the history of this small country for centuries under colonial rule. This vast agricultural machinery typically included greenhouses, dryers, warehouses, “senzalas”—the workers’ quarters—a church, a school, and sometimes even a railway connecting the different branches to the main roça and the sea. The main house, where the patrão—the landlord—lived, along with the hospital, dominated the entire settlement, either at the end of a monumental axis or from an elevated position of control. Both structures, characterized by Portuguese and European architectural styles, symbolized power. They were off-limits to the workers, who were subjected to strict working hours and restrictions on their freedom: they could not leave the farm or return to their homeland. Physical barriers—such as access to the main house or upper floors of hospitals reserved for Europeans—were clear, but the psychological boundaries, shaped over centuries of domination, still linger. They persist in the form of limited self-determination and organization. The people of São Tomé experience mixed feelings toward the roças: a blend of nostalgia and resentment for a past that provided work for all, but no rights. Architecture remains the last tangible symbol of this world and forms part of the population’s identity. The stories told by inhabitants reveal pride in the beauty of these structures, but also a sense of distance and impossibility toward spaces they never occupied. Even after expropriations in the 1980s, feelings of inferiority and lack of economic means prevented many from claiming ownership, leading to looting and eventual abandonment. The imposed divide between the world of the master and that of the workers has not disappeared since independence in 1975. The dichotomy between patrão and roças, masters and senzalas, has evolved into a new social boundary, reflected in the pejorative term “gente da roça”—people of the plantation—still marginalized within society. This photographic narrative, centered on around thirty roças, seeks to reconstruct the memory of these places by documenting their present condition and bringing renewed attention to an architectural heritage on the verge of disappearance. The project unfolds through two main approaches: the first focuses on the principal structures of the roças, photographed with long exposure to evoke a sense of untouchability and highlight the enduring tension between their grandeur and their surroundings; the second presents portraits of daily life within these communities, which, despite ongoing challenges, remain an active part of this history.
Masao Yamamoto
Masao Yamamoto
Japan
1957
Masao Yamamoto was born in 1957 in Gamagori City, Aichi Prefecture in Japan. Although originally trained as a painter, he is one of the best known Japanese photographers working today. Yamamoto’s images are like fragments from a puzzle that capture an allusive, ineffable moment. He has produced several limited edition series of mixed media photographs, including Box of Ku, Nakazora, Kawa=Flow and most recently, Shizuku=Cleanse. He has published several books among them: Box of Ku, (Nazraeli Press, 1998); Nakazora (Nazraeli, 2001); The Path of Green Leaves (Nazraeli, 2002); Omizuao (Nazraeli, 2003); Santoka (Harunatsuakifuyu Sousho, Japan,2003); é (2005); Fujisan (Nazraeli, 2008); Yamamoto Masao, (Galerie Albert Baumgarten, Germany, 2009); Yamamoto, Masao (21st Editions, 2011); and Where we met: Yamamoto, Masao and Arpaïs du Bois (Lanoo Publishers, Belgium, 2011). Masao Yamamoto’s work has been exhibited all over the world, and his photographs are in many public and private collections including: the Museum of Fine Arts, Houston; the International Center of Photography; the Center for Creative Photography; the Santa Barbara Art Museum; the Victoria and Albert Museum; the Maison Européenne de la Photographie; and the Sir Elton John Collection. Source: Etherton Gallery Masao Yamamoto (born 1957 in Gamagori City in Aichi Prefecture, Japan) is a Japanese freelance photographer known for his small photographs, which seek to individualize the photographic prints as objects. Yamamoto began his art studies as a painter, studying oil painting under Goro Saito in his native city. He presently uses photography to capture images evoking memories. He blurs the border between painting and photography however, by experimenting with his printing surfaces. He dyes, tones (with tea), paints on, and tears his photographs. His subjects include still-lives, nudes, and landscapes. He also makes installation art with his small photographs to show how each print is part of a larger reality. Source: Wikipedia Masao Yamamoto's photography is known for evoking emotional power in the form of small-scale photographs. Photographer Masao Yamamoto (1957-present) was born in Aichi Prefecture in Japan. Originally interested in pursuing painting, studying oil painting specifically under Goro Saito. Though Masao Yamamoto eventually transitioned into photography in 1993, his painting background is apparent in his works’ painterly look, incorporating blurs and experimenting with printing surfaces; with many Masao Yamamoto photographs, he manipulated the silver gelatin prints through analogue, which means such as painting the images with tea or actual paint and tearing them. Subjects vary wildly, ranging from Japanese countryside to nude female bodies. Many liken Yamamoto’s art to haikus, considering his mastery of brevity and focus on everyday details. Yamamoto's photography and prints are on permanent display at museums like the J.P. Morgan Chase Art Collection as well as many other private, corporate and public collections. Masao Yamamoto's photography style is a study in tactile experience, encouraging viewer engagement through nuanced layers and unique museum and gallery installations. His extremely detail-oriented approach creates an intricate, ephemeral feel; each photograph is an isolated section of a larger series, like Box of Ku, which featured handheld-sized images. Most of his series work is unframed and artificially aged to mimic a tangibility, further lending to the accessibility. Masao Yamamoto has published many monographs, including Tori (Radius Books, 2016), Poems of Santoka (Galerie Vevais, 2016), Small things in silence, (Editorial RM, 2014), KAWA=Flow (Kochuten Books, 2011), YAMAMOTO MASAO (21st Editions, 2011), Fujisan (Nazraeli Press, 2008), é (Nazraeli Press, 2005), Omizuao (Nazraeli Press, 2003), Santoka (Harunatsuakifuyu Sousho, Japan, 2003), The Path of Green Leaves (Nazraeli Press, 2002) and A Box of Ku (Nazraeli Press, 1998). Masao Yamamoto's photography and prints are on display in museums and galleries across the United States, Japan, Europe, Russia and Brazil. His work is included in permanent collections like International Center of Photography, Victoria and Albert Museum, the Sir Elton John Collection. Masao Yamamoto has also had photographs hung at Jackson Fine Art, including solo shows Nakazora (2003) and A Box of Ku (1999) and group show Contemporary Japanese Photography. Source: Jackson Fine Art
Laura Stevens
Laura Stevens
United Kingdom
1977
Laura Stevens (born in England) is a photographic artist living in Paris. She received her BA from Leeds Metropolitan University, before furthering her studies at the University of Brighton in 2007. Stevens has participated in group exhibitions at institutions including The National Portrait Gallery, The Centre for Fine Art Photography, Encontros da Imagem festival, the Singapore International Photography Festival with a solo show at The Latvian Museum of Photography. Her work is also represented in private collections. Laura received a special distinction in the LensCulture Emerging Talents 2014, nominated as a finalist in the PHPA (Photo d’Hotel Photo d’Auteur) 2014 and in The Taylor Wessing Portrait Prize 2013/2014.Stevens’ series of narrative portraits often represent and fictionalise personal situations with the domestic landscape serving as a backdrop, using cinematic drama and painterly aesthetics along themes of intimacy, relationships and loss.Alongside her dedication to long-term personal projects, she is a regular contributor for the press, for publications such as The Times Magazine, Le Monde, Forbes and The Washington Post.
Lynn Gilbert
Lynn Gilbert
United States
1938
As a photographer, my mission is to document unrecorded areas of society, shining a light on the lives and stories of those often overlooked. This work is not just a passion, but a significant contribution to our understanding of the world. In the 1970s, I took environmental portraits of children from more than a hundred families in New York City from different socioeconomic backgrounds, shedding light on the diversity of urban life. My portrait of Louise Nevelson in 1976, one of the most influential artists of the 20th century, inspired my first book. Particular Passions: Talks with Women Who Have Shaped Our Time, 1981, includes portraits of the trailblazers who transformed the American Landscape. Ruth Bader Ginsburg, Billie Jean King, Julie Child, Gloria Steinem, and 42 other women share their inspiring stories in their own words. For almost a decade, I documented the interiors of the Traditional houses of Turkey to preserve a disappearing way of life. The municipal government in towns and villages across the country helped select these houses, a significant part of the country's cultural heritage. My book The Silk Road: Then and Now, 2017, includes images from this series. For four years, I documented the changing seasons of a world-class garden. It grew into a documentary about a multi-generational family of 30, which revolves around this garden. My work has been widely published and appeared on over 1,000 media platforms, including Netflix, Nvidia, Intel, National Geographic, MoMA, the British Museum, and The Washington Post. My portraits are in the Smithsonian, the National Portrait Gallery, the Smithsonian, and the New York Historical Society. Recently, I started photographing and interviewing 1970s kids from different socioeconomic backgrounds to document what happened to their lives. At 86, I'm still working as fast as I can. There's so much more I want to accomplish, and I'm determined to keep pushing the boundaries of my art. Artist Statement What is a Portrait? According to the dictionary it can be a painting, photograph, drawing, or even a description. A successful portrait is achieving an image that is a timeless representation of the subject. Even with inanimate things or portraits of spaces, the goal for me is the same, to capture its soul. I've photographed hundreds of people. I have a series of NYC children and another Women of Wisdom. Getting beyond that awkwardness is not easy. The clock is ticking. Even children are uncomfortable, under the scrutiny of a prying eye. As a photographer, I'm always nervous, ''will I get that one image.'' What works for me is to keep the conversation flowing. Eventually the awkwardness fades. When photographing children there are endless things to talk about, however it is not as simple with adults. If the person is well-known then I do a lot or research about them. As the conversation progresses, I keep the camera clicking. The first pictures never work but they are important part of the process. The subjects get used to the clicking and the images get better. After about an hour I find a person relaxes. That is the moment, I can capture my subject. Real character is revealed. The tilt of the head, the shoulders go soft, the fingers relax, the legs are at ease and the eyes are unguarded. That final image happens in a split second. Decades later the portrait must still work.
Aude Delannoy Dib
Aude Delannoy Dib
France
1972
Aude Delannoy Dib is a French visual and emotional recorder. She started exploring photography in 2010 when painting, a time consuming and mess generator passion, became unmanageable with three children. Street photography practice coincided with her move to the UAE in 2016. It provided both an escape from the bustle of her crowded home and an opportunity to explore her new environment. Since then, she has been capturing the unglamorous side of the ever changing landscapes of the UAE's cities, its daily rhythms and the rich diversity of its communities. Statement Aude sees photography as a powerful yet simple medium for evoking emotions and sparking reflections. She finds beauty in the overlooked details and chaos, creating carefully crafted multilayered compositions that play with colours, geometry, sharp shadows and lights. For her, these elements form the emotional essence of a place.
Fred Herzog
Fred Herzog
Canada
1930 | † 2019
Fred Herzog devoted his artistic life to walking the streets of Vancouver as well as almost 40 countries with his Leica, photographing - mostly with color slide film - his observations of the street life with all its complexities. Herzog ultimately became celebrated internationally for his pioneering street photography, his understanding of the medium combined with, as he put it, "how you see and how you think" created the right moment to take a picture. Fred was born Ulrich Herzog in Stuttgart, Germany in 1930 and spent his childhood in Rottweil, Germany. He lost both of his parents during the war, and in 1946 Herzog went to work as an apprentice in his grandparents' hardware store. Disillusioned by the ravages of war and the situation in Germany, he emigrated to Canada in 1952 and settled in Vancouver in 1953. During the next several years. Herzog studied photography magazines while working aboard ships for the CPR steamship line, and in 1957 he was hired as a medical photographer at St. Paul's Hospital. In 1961, he became the head of the Photo/Cine Division in the Department of Biomedical Communications at UBC, and in 1970 was appointed Associate Director of the Department. Herzog was also hired as an Instructional Specialist in the Fine Arts Department at Simon Fraser University in 1967, and in 1969 became an instructor in the Fine Arts Department at UBC. Herzog had a walking route through Vancouver that enabled him to build friendships with other photographers and neighborhood residents and gave him an acute understanding of the daily life and soul of Vancouver. Over the course of several decades, Herzog produced a substantial body of color photographs, taking urban life, second-hand shops, vacant lots, neon signage, and the crowds of people who have populated city streets over the past years as his primary subjects. Herzog's use of color was unusual in the 1950s and 60s, a time when fine art photography was almost exclusively associated with black and white imagery. Additionally, Herzog photographed using Kodachrome slide film which was notoriously difficult to print. For decades he remained virtually unknown until his mid-seventies when printing technology caught up, allowing him to make archival pigment prints that matched the exceptional color and intensity of the Kodachrome film. A retrospective exhibition, Fred Herzog: Vancouver Photographs, was held at the Vancouver Art Gallery in 2007 and was the first major recognition of Herzog's body of work. Herzog exhibited his work both in Canada and internationally, including the exhibitions Fred Herzog: Photographs, C/O Berlin, Germany (2010), Fred Herzog: A Retrospective, Equinox Gallery, Vancouver (2012), Eyes Wide Open! 100 Years of Leica Photography, Haus der Photographie, Hamburg, Germany (2015), Photography in Canada, 1960-2000, National Gallery of Canada, Ottawa (2017), and many others. In 2010 Herzog received an Honorary Doctorate from Emily Carr University of Art and Design, and in 2014 he received the Audain Prize for Lifetime Achievement in the Visual Arts. An artist profile on Herzog was featured on the Knowledge Network for the series Snapshot: The Art of Photography II in 2011. In 2014, Herzog's photograph Bogner's Grocery (1960) was released as a limited edition stamp as part of Canada Post's Canadian Photography Series. Herzog died on September 9, 2019 at age 88.Source: Wikipedia
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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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