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Davide Bertuccio
Davide Bertuccio
Davide Bertuccio

Davide Bertuccio

Country: Italy
Birth: 1991

Davide was born in Messina in 1991. He is a photojournalist based in Milan. He graduated with honors in 2016 at IED (Istituto Europeo di Design) at the school of visual arts in photography. Since the end of 2016, he focused on the theme of globalization, looking for stories that would give voice to the small realities crushed by that indefatigable desire for equality. In 2019 He decided to follow his passion for science and environmental problems with the realization of a work about the problem of plastic pollution in the Mediterranean Sea. Davide, inserted in 2014 among the 10 best under 25 Italian talents and nominated in 2019 by 6X6 World Press Photo Global Talent Program, has been published by National Geographic USA, National Geographic Italia, Il Reportage and his works received national and international awards.

Accross the River's Flow
Saxons are a community with German roots. Since XI century, together with Hungarians and Romanians, they’ve been living in the green heart of Romania. From this very land, a major migration is now taking place which marks the decline of centuries of history. Saxons are disappearing and their culture, their tongue and traditions along with them. “Across the river’s flow” aims to be a work about the disappearing of ethnic minorities, overwhelmed by the pace of modern life and by an ever-growing globalization. Saxons are an example of how authenticity is wiped out to make room for a fictitious daily routine and how entire ethnic groups and populations must surrender to outside forces such as racism.

Websites

davidebertuccio.com

www.instagram.com/davidebertuccio

 

Inspiring Portfolios

Aleksander Rodchenko
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Fabien Dendiével
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Umberto Verdoliva
© Umberto Verdoliva
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Garry Winogrand
Garry Winogrand
United States
1928 | † 1984
Garry Winogrand was an American street photographer, known for his portrayal of U.S. life and its social issues, in the mid-20th century. Photography curator, historian, and critic John Szarkowski called Winogrand the central photographer of his generation. Winogrand was influenced by Walker Evans and Robert Frank and their respective publications American Photographs and The Americans. Henri Cartier-Bresson was another influence although stylistically different. Winogrand worked as a freelance photojournalist and advertising photographer in the 1950s and 1960s. Between 1952 and 1954 he freelanced with the PIX Publishing agency in Manhattan on an introduction from Ed Feingersh, and from 1954 at Brackman Associates. Winogrand's beach scene of a man playfully lifting a woman above the waves appeared in the 1955 The Family of Man exhibition at the Museum of Modern Art in New York which then toured the world to be seen by 9 million visitors. His first solo show was held at Image Gallery in New York in 1959. His first notable exhibition was in Five Unrelated Photographers in 1963, also at MoMA in New York, along with Minor White, George Krause, Jerome Liebling, and Ken Heyman. Winogrand was known for his portrayal of American life in the early 1960s. Many of his photographs depict the social issues of his time and in the role of media in shaping attitudes. He roamed the streets of New York with his 35mm Leica camera rapidly taking photographs using a prefocused wide angle lens. His pictures frequently appeared as if they were driven by the energy of the events he was witnessing. Winogrand's photographs of the Bronx Zoo and the Coney Island Aquarium made up his first book The Animals (1969), a collection of pictures that observes the connections between humans and animals. He received three Guggenheim Fellowships to work on personal projects, a fellowship from the National Endowment for the Arts, and published four books during his lifetime. He was one of three photographers featured in the influential New Documents exhibition at Museum of Modern Art in New York in 1967 and had solo exhibitions there in 1969, 1977, and 1988. He supported himself by working as a freelance photojournalist and advertising photographer in the 1950s and 1960s, and taught photography in the 1970s. His photographs featured in photography magazines including Popular Photography, Eros, Contemporary Photographer, and Photography Annual. Critic Sean O'Hagan wrote in 2014 that in "the 1960s and 70s, he defined street photography as an attitude as well as a style – and it has laboured in his shadow ever since, so definitive are his photographs of New York"; and in 2010 that though he photographed elsewhere, "Winogrand was essentially a New York photographer: frenetic, in-your-face, arty despite himself." Phil Coomes, writing for BBC News in 2013, said "For those of us interested in street photography there are a few names that stand out and one of those is Garry Winogrand, whose pictures of New York in the 1960s are a photographic lesson in every frame." In his lifetime Winogrand published four monographs: The Animals (1969), Women are Beautiful (1975), Public Relations (1977) and Stock Photographs: The Fort Worth Fat Stock Show and Rodeo (1980). At the time of his death, his late work remained undeveloped, with about 2,500 rolls of undeveloped film, 6,500 rolls of developed but not proofed exposures, and about 3,000 rolls only realized as far as contact sheets being made.Source: Wikipedia Photography is not about the thing photographed. It is about how that thing looks photographed. -- Garry Winogrand A native New Yorker, Garry Winogrand became known for his street photography blending documentary and photojournalist styles and freezing his subjects in spontaneous and bizarre moments. Winogrand typically used a wide-angle lens mounted on a Leica 35mm camera and photographed prolifically, leaving 2,500 rolls of shot but undeveloped film and 300,000 unedited images upon his death. The tilted horizon and feeling of chaos in his images belie his careful compositions concerned with capturing surface detail and energy. Winogrand believed that the act of framing and photographing something transformed it. His images are often confrontational and take moments out of context, positioning Winogrand as an outside observer of human gestures and actions. Among Winogrand’s favorite subjects were women, and he described himself as being “compulsively interested in women” and having “compulsively photographed women.” A large part of Winogrand’s images in the collection of the MoCP form part of the Women are Beautiful portfolio (1981), which was initially published as a monograph in 1975. For the monograph, John Szarkowski, curator of photography at the Museum of Modern Art in New York at the time, selected eighty-five images featuring women from hundreds of photographs by Winogrand. The resulting book offers a random collection of women caught on the street, in parks, getting into cars, at parties, marching in parades, skinny-dipping in ponds, etc. The images capture not only Winogrand’s attraction to the women he photographed, but also the styles, activities, gestures, and energies pertaining to gender in the 1960s and 1970s, an era of transition during second-wave feminism and the sexual revolution. In the monograph and in the portfolio, Winogrand wrote: “Whenever I’ve seen an attractive woman, I’ve done my best to photograph her. I don’t know if all the women in the photographs are beautiful, but I do know that the women are beautiful in the photographs.”Source: Museum of Contemporary Photography
Stefano De Luigi
Stefano De Luigi
Italy
1964
I was born in Koln and spent all my life so far, between Rome, Milan and Paris. Even if we are living in a time where is not really trendy, I feel myself deeply Europeen. I choose photography to became my language, because I felt it is universal, the only filter you have to use is your own mind-eyes. Below the essential of my biography I am a photographer since 1989. I attended 2 years of courses at ISF (Instituto Superiore di Fotografia) in Rome between 1987/89 and moved, for the first time, to Paris from 1989 to 1996, working, among others for the Louvre Museum. Back and forth from France to Italy In 2000 I received the Honorable Mention of Leica Oskar Barnack Award. That same year I started the project Pornoland, a photographic journey on pornographic movie sets around the world. In 2004 Pornoland became a book enclosing 16 pages of text by English writer Martin Amis. Pornoland has been published by : Thames & Hudson, Knessebeck, La Martinière and Contrasto. This work has been exhibited at REA gallery (Paris 2004), Santa Cecilia gallery (Rome 2005), Lanificio (Naples 2006), Festival Transphotographiques (Lille 2007), New York Photo Festival (NY 2011). Personal exhibitions in these years, among others, include WHO Headquarter (Geneva 2010), VII Gallery (New York 2010), 10b Gallery (Rome 2010), Museum of Modern Art (Rovereto 2011), Photofestival (Athens 2011/15), Fondazione Stelline (Milan, 2013) FotoIstanbul (2015) , Candiani Cultural Center ( Venice 2017) Plenum Gallery ( Catania 2018) Museum of Palazzo Ducale ( Genes 2019) Image Gibellina 2021, Photolux (Lucca 2022) Planches Contact (Deauville 2022). From 2003 to 2010, I worked on Blindness-, my main work, which lasted 8 years. A photographic project on the life condition of blind and low vision people, around the world. Blindness received the patronage of Vision 2020- World Health Organisation and won the W.E. Smith Fellowship Grant in 2007. In 2006 I embarked on the project Cinema Mundi, a World Cinema exploration of the alternative cinematographic scene external to the Hollywood dream factory including China, Russia, Iran, Argentina, Nigeria, South Korea and India. Cinema Mundi has been also transformed into a 7 minutes short movie screened at Locarno International Film Festival on August 4th, 2007. I have been awarded in the World Press Photo contest four times in different categories (1998-2007-2010-2011). In 2009 the Moving Walls of Open Society Foundation exhibited my work in Washington and New York. In 2010 I was the recipient of the Days Japan International Photojournalism Award and the Getty Grant for Editorial Photography, Syngenta Prize 2015, CNC grant for the documentary"Mare Amarum" 2019, Planches Contacts grant 2021 and I was the recipient of Strategie Fotografia grant from the Italian Ministry of Culture in 2022. I published 6 books Pornoland (Contrasto 2004), Blanco, (Trolley book 2010) iDyssey, (Edition Bessard 2017) Babel with Michela Battaglia (Postcart 2018) Pornoland Redux (Self-published 2021) Il Bel Paese (L'Artiere 2023). T.I.A Africa is a continent. But Africa is also a well-defined place in my mind. Africa is unique. Every time I have had the opportunity of going there I have come face to face with incredible tragedies but also with the unwavering hope of its people. Ever since my first journey to South Africa in 1989, where I saw Walter Sisulu walk free in Soweto after years of imprisonment, I continue to be both deeply moved and deeply shocked by all the stories I have witnessed and heard. Every time I step onto African soil I know I will experience something deep, something that inevitably leads to a search for the meaning of life, something that, for me at least, surfaces from deep within when I am in Africa. The questions raised call for humbleness, since often they are without answers. We know that the truth often lies in the middle folds of things. This project aims to raise questions and provoke thoughts which could, perhaps, lead to some answers and which in turn could correspond to some truths. I have tried to conceive this project as a poem. Or perhaps it would better be described as a ballad. The ballad with verses which challenge and play with each other. In the space between two facing photographs there is a story. One of the thousand stories I witnessed in Africa, one of the thousand questions I asked myself, one of the thousand experiences I was fortunate to live. The photographs represent the two extremes of the story that links them: the beginning and the end. I couldn't find a better form of expressive language to convey how Africa is an all-encompassing experience for any human being wishing to embrace it to its full. A painful yet joyful ballad of my personal and ongoing relationship with this continent. This is why I have called it "This is Africa". I should probably have called it "This is my vision of Africa" but it didn't sound the same. By no means does this mean it is the only view of Africa. I know it may seem inadequate and subjective. But so is everything in life, I guess. So, This is Africa. Blanco How does the look of a blind person look like? Can the blind show joy, happiness, disappoint, pain, suffering, pity, regret, with the only use of their eyes? The absence of sight can mean also the absence of complicity behind the camera's lens? We always use the term blind to characterize a person, such as blond, fat, poor, rich. And maybe, in some way, it is the truth. It doesn't matter if it happens in Africa, Asia, or the old Europe. The fact is, they cannot see the light, the colors, the daily scenes, how awful or gorgeous they can be. The blind are a contrast. It is easier to ignore them, their handicap is hidden, but they do have it. It's not necessary to turn the face to something or someone else, they won't see it. They seem 'normal', but they're not. They have their own world, the same and another than ours, made of different feelings, different images, different colors. And dark.
Jacob Riis
Jacob Riis
Denmark/United States
1849 | † 1914
Jacob August Riis was a Danish-American social reformer, "muckraking" journalist, and social documentary photographer. He contributed significantly to the cause of urban reform in America at the turn of the twentieth century. He is known for using his photographic and journalistic talents to help the impoverished in New York City; those impoverished New Yorkers were the subject of most of his prolific writings and photography. He endorsed the implementation of "model tenements" in New York with the help of humanitarian Lawrence Veiller. Additionally, as one of the most famous proponents of the newly practicable casual photography, he is considered one of the fathers of photography due to his very early adoption of flash. While living in New York, Riis experienced poverty and became a police reporter writing about the quality of life in the slums. He attempted to alleviate the bad living conditions of poor people by exposing their living conditions to the middle and upper classes. Riis had for some time been wondering how to show the squalor of which he wrote more vividly than his words could express. He tried sketching but was incompetent at this. Camera lenses of the 1880s were slow as was the emulsion of photographic plates; photography thus did not seem to be of any use for reporting about conditions of life in dark interiors. In early 1887, however, Riis was startled to read that "a way had been discovered to take pictures by flashlight. The darkest corner might be photographed that way." The German innovation, by Adolf Miethe and Johannes Gaedicke, flash powder was a mixture of magnesium with potassium chlorate and some antimony sulfide for added stability; the powder was used in a pistol-like device that fired cartridges. This was the introduction of flash photography. Recognizing the potential of the flash, Riis informed a friend, Dr. John Nagle, chief of the Bureau of Vital Statistics in the City Health Department who was also a keen amateur photographer. Nagle found two more photographer friends, Henry Piffard and Richard Hoe Lawrence, and the four of them began to photograph the slums. Their first report was published in the New York newspaper The Sun on February 12, 1888; it was an unsigned article by Riis which described its author as "an energetic gentleman, who combines in his person, though not in practice, the two dignities of deacon in a Long Island church and a police reporter in New York." The "pictures of Gotham's crime and misery by night and day" are described as "a foundation for a lecture called 'The Other Half: How It Lives and Dies in New York.' to give at church and Sunday school exhibitions, and the like." The article was illustrated by twelve-line drawings based on the photographs. Riis and his photographers were among the first Americans to use flash photography. Pistol lamps were dangerous and looked threatening, and would soon be replaced by another method for which Riis lit magnesium powder on a frying pan. The process involved removing the lens cap, igniting the flash powder, and replacing the lens cap; the time taken to ignite the flash powder sometimes allowed a visible image blurring created by the flash. Riis's first team soon tired of the late hours, and Riis had to find other help. Both his assistants were lazy and one was dishonest, selling plates for which Riis had paid. Riis sued him in court successfully. Nagle suggested that Riis should become self-sufficient, so in January 1888 Riis paid $25 for a 4×5 box camera, plate holders, a tripod and equipment for developing and printing. He took the equipment to the potter's field cemetery on Hart Island to practice, making two exposures. The result was seriously overexposed but successful. For three years, Riis combined his own photographs with others commissioned of professionals, donations by amateurs and purchased lantern slides, all of which formed the basis for his photographic archive. Because of the nighttime work, he was able to photograph the worst elements of the New York slums, the dark streets, tenement apartments, and "stale-beer" dives, and documented the hardships faced by the poor and criminal, especially in the vicinity of notorious Mulberry Street. A particularly important effort by Riis was his exposure of the condition of New York's water supply. His five-column story "Some Things We Drink", in the August 21, 1891, edition of the New York Evening Sun, included six photographs (later lost). Riis wrote: "I took my camera and went up in the watershed photographing my evidence wherever I found it. Populous towns sewered directly into our drinking water. I went to the doctors and asked how many days a vigorous cholera bacillus may live and multiply in running water. About seven, said they. My case was made." The story resulted in the purchase by New York City of areas around the New Croton Reservoir, and may well have saved New Yorkers from an epidemic of cholera. Riis tried hard to have the slums around Five Points demolished and replaced with a park. His writings resulted in the Drexel Committee's investigation of unsafe tenements; this resulted in the Small Park Act of 1887. Riis was not invited to the eventual opening of the park on June 15, 1897, but went all the same, together with Lincoln Steffens. In the last speech, the street cleaning commissioner credited Riis for the park and led the public in giving him three cheers of "Hooray, Jacob Riis!" Other parks also were created, and Riis was popularly credited with them as well.Source: Wikipedia
Robbe Maes & Reynout Dekimpe
Robbe Maes & Reynout Dekimpe
Belgium
Reynout Dekimpe (Bruges, 1991) graduated as an actor at Luca school of arts. He created his own theatre company ‘RAF’ for which he writes his own plays. Next to acting and writing, creating worlds in miniature is his lifelong passion. Dekimpe's unique blend of artistic talents has led to the development of immersive experiences that blur the lines between theatre, film, and fine arts. Robbe Maes (Leuven, 1990) graduated as a filmmaker at the same school. He has directed several shortfilms and music videos. He his known for his playful and creative style that explores the boundaries of imagination. After meeting on a few filmsets, both artists moved to Antwerp in 2016 where the shared a house together. "Nr7" became their artistic playground for making miniature models and filming them in a darkened kitchen. During that period, they developed their unique style, which is characterized by handmade models as a central theme for cinematographic experiences. In january 2024, their first solo expo "Welcome to Fieldkapelle" premièred at the Rotterdam Photo festival, displaying several scalemodels and their accompanying photographs. Soon after they were awarded as "shortlist" artist for the Belfast photo festival and "longlist artist" for the Aesthetica Art price. Their current expo is now on display in the city center of Bruges. Instagram @robbe.maes @reynoutdekimpe
Chris Ha
Chris Ha
Canada
1985
Chris Ha is a travel and portrait photographer from Canada, now based in Miami, Florida. His work captures the beauty of diverse landscapes and human connection, blending technical skill with a passion for storytelling. From sweeping natural vistas to vibrant cityscapes, his photography evokes emotion and a deep sense of place. His work has gone viral on social media, where audiences are drawn to his stunning visuals and the stories they tell. His portfolio spans breathtaking travel scenes, intimate portraits, and aerial perspectives, blending artistry with a deep appreciation for the world around him. Through his photography, Chris aims to transport viewers into the heart of the stories he tells, inspiring them to see the beauty in both the extraordinary and the everyday. You can see more of his work on Instagram.
Natalya Saprunova
Natalya Saprunova
France/Russia
1986
Natalya Saprunova, originally from the Arctic region of Russia on the Kola Peninsula in Murmansk, is a documentary photographer based in Paris. During her higher studies to become a French teacher in Russia, she worked as a photojournalist for the daily newspaper Murmansk Messenger. After arriving in France in 2008, she studied and worked in marketing as part of her journey toward acquiring French citizenship. Eight years later, she left her permanent contract to fully return to photography. Graduated in Documentary Photojournalism from the EMI-CFD School in Paris in 2020, Natalya now pursues an ethnographic approach exploring contemporary issues such as identity, environment, climate change, youth, femininity, and spirituality. Passionate about knowledge sharing, she has been teaching photography since 2016 at Graine de Photographe school in Paris and has also led photo journeys in Russia, including in Saint-Petersburg and at Baikal Lake. She also speaks at conferences and works with young audiences to raise awareness about the environmental, cultural, and social issues she documents. Since 2019, Natalya has been retracing the Great North route of her childhood. As a teenager, she was fascinated by the legends and history of the Indigenous Saami reindeer herders. Today, she travels alone between Siberia, Mongolia, Canada and Europe, adopting local ways of life wherever she goes. Once in the field, she builds connections with communities who, moved by her project, welcome her and share with her their culture, their concerns, their hopes, and their daily lives. She works on long-term projects, regularly returning to these extreme environments, facing temperatures that can drop below –60°C or rise beyond +35°C.
Paul Caponigro
Paul Caponigro
United States
1932 | † 2024
Paul Caponigro (born December 7, 1932), is an American photographer from Boston, Massachusetts. He started having interests in photography at age 13. However, he also had a strong passion for music and began to study music at Boston University College of Music in 1950, before eventually deciding to focus on studying photography at the California School of Fine Art. Caponigro studied with Minor White and has been awarded two Guggenheim Fellowships and three grants from the NEA. His best-known photographs are Running White Deer and Galaxy Apple. His subject matter includes landscape and still life, taking an interest in natural forms. He is best known for his landscape works and for the mystical and spiritual qualities of his work. He is often regarded as one of America's foremost landscape photographers. Caponigro's first one-man exhibition took place at the George Eastman House in 1958. In the 1960s Caponigro taught photography part-time at Boston University while consulting the Polaroid Corporation on various technical research. Caponigro lived in El Rancho de San Sebastian during his time in New Mexico from 1973-1993. In 1971, his work was exhibited in group exhibition "Le Groupe Libre Expression : Expo 5", presented by Jean-Claude Gautrand, at Les Rencontres d'Arles festival, France. Caponigro's work is included in the collections of the Guggenheim, Whitney, Norton Simon Museum, New Mexico Museum of Art and San Francisco Museum of Modern Art. He was awarded The Royal Photographic Society's Centenary Medal and Honorary Fellowship (HonFRPS) in recognition of a sustained, significant contribution to the art of photography in 2001. Caponigro is a dedicated pianist and considers his training with music to be essential to his photographic imagery. His son, John Paul Caponigro, is a digital photographic artist.Source: Wikipedia Paul Caponigro is one of America’s foremost landscape photographers. While he became interested in photography at age of thirteen, he also had a strong passion for music; he studied at Boston University College of Music in 1950 before deciding to focus on photography at the California School of Fine Art, where Ansel Adams had established one of the first photography programs in the United States. Despite the shift from music to photography early in his artistic career, Caponigro remains a dedicated piano player who believes that his musical training and insight influences his photographic imagery. Caponigro is best known for his interest in natural forms, landscapes, and still lives. His subjects include Stonehenge and other Celtic megaliths of England and Ireland; the temples, shrines and sacred gardens of Japan; and the deep mystical woodland of New England.Source: International Center of Photography Paul Caponigro, renowned as one of America’s most significant master photographers is known for his captivating and mystical landscape images. His exquisite silver gelatin prints depict images of nature, including flowers, cloud formations, and forest settings. His work forms a visual bridge between the material world of physical forms and the living spirit behind them.Source: Jackson Fine Art
Isa Leshko
Isa Leshko
United States
1971
Isa Leshko is a fine art photographer living in Philadelphia, PA. She has had solo exhibitions at the Corden|Potts Gallery, the Galveston Arts Center, the Griffin Museum of Photography, the Houston Center for Photography, the Silver Eye Center for Photography, and the Richard Levy Gallery. Her prints are in numerous private and public collections including the Boston Public Library, the Harry Ransom Center, Haverford College, and the Museum of Fine Arts, Houston. Her images have been published in print and/or online editions of The Atlantic, The Boston Globe, Frankfurter Allgemeine Sonntagszeitung, The Guardian, Harper’s Magazine, The New York Times, Photo District News and Süddeutsche Zeitung Magazin.In 2012, Isa received both the Houston Center for Photography Fellowship and the Silver Eye Center for Photography Keystone Award for her Elderly Animals project. She was nominated for the 2011 Santa Fe Prize for Photography and was named a finalist for the 2011 New Orleans Photo Alliance Clarence John Laughlin Award.Isa grew up in Carteret, NJ and received her BA from Haverford College, where she studied cognitive psychology and neurobiology. She spent the 1990s working for dot.com startups as a project manager and software engineer before she discovered her passion for photography. She has lived in Houston, TX, Salem, MA and Providence, RI.
Fang Tong
Fang Tong
China/Canada
Fang Tong is an awarded-winning photographer based in Vancouver Canada. In 2015, she won first prize in the Nikon International Photography Competition. She had an interview with Canada Broadcasting Corporation CBC Arts in 2019. Fang Tong had solo and group shows in cities such as Paris, Sicily, Budapest, Barcelona, London, Shanghai, and Vancouver. Fang Tong is a cinematic-style photographer, as a spectator of life. Her works are embedded with an implied narrative, which is left to the viewer to resolve over time with their own imagination. Reflecting her background in classical art, photography is carefully planned to control the frame and the expression of details, giving her work an ethos of a painter. As a bystander, Fang Tong captures the potential that photography can embody pieces with an eternal quality, thereby creating a slightly fictional world that resembles reality but transcends consciousness. Fang Tong’s passion is for her work to border on the surreal, yet hold back enough to keep it firmly in the real world. Her photos provoke audiences to create a narrative out of cinematic pictures. There may be no clearly defined story behind the scene, but there is a strong mood and atmosphere throughout the whole image. The imaginary world is strangely familiar while the narrative arc takes audiences on a hyper-visual ride through people's subconsciousness. She nurtures the balance between the real and the surreal that pulls her audiences into the world she created, but she also allows the audience to discover their own answers.
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Exclusive Interview with Carole Mills Noronha
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Exclusive Interview with Carole Mills Noronha
Carole Mills Noronha is an Australian photographer whose deeply personal work explores memory, family, loss, and the fragile nature of identity. Living with epilepsy and a lifelong sensitivity to light, she has developed a distinctive photographic language rooted in observation, empathy, and emotional connection. Her images are shaped by lived experience, revealing intimate stories with remarkable honesty and tenderness.
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Exclusive Interview with Trevor Cole: Pastoral Peoples and Practices
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Exclusive Interview with Trevor Cole: Pastoral Peoples and Practices
For this interview, we wanted to focus specifically on The Face of the Mundari and the wider Pastoral Peoples and Practices series. We spoke with Trevor about his long-term work among the Mundari, what continues to draw him back to their cattle camps, and the experience of documenting a culture whose identity remains deeply connected to livestock, tradition, and the natural environment.
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Exclusive Interview with Frank Meo
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Exclusive Interview with Carolyn Moore
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Exclusive Interview with Luca Desienna and Laura Estelle Barmwoldt
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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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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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