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Win a Solo Exhibition in July 2026 + An Exclusive Interview!
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Gianluca Mortarotti
Gianluca Mortarotti
Gianluca Mortarotti

Gianluca Mortarotti

Country: Italy
Birth: 1990

My name is Gianluca Mortarotti, and I'm a self-taught photographer from Rome currently based in London, UK. My passion for photography started at a young age, thanks in part to my father's work as a wedding photographer. However, it wasn't until after my studies that I decided to take photography more seriously.

I'm fascinated by the energy of cities and the candid moments that tell a story and I've always been drawn to the contrasts of urban life and the connections between people that can seem strange and unusual. Through my work, I try to explore these themes with a fresh and unexpected approach, creating a consistent and attractive aesthetic that is both narrative and metaphorical in its meaning. I believe that the world around us is full of hidden beauty that often goes unnoticed, and I like to create tension in my images by juxtaposing contrasting elements and highlighting the unusual connections between them, aiming to create a sense of intrigue and encourage the viewer to look closer and engage with the image on a deeper level. For me, photography is not just about documenting reality but using it as a means of expression to shed light on life beyond mere appearances.

Statement:
More than a camera, I have a tool for storytelling. My goal is to use photography as a means to reveal the unseen and to present a fresh, intriguing, and personal view of the world.

Winner AAP Magazine #30 Shadows

Websites

www.inframeswetrust.com

@inframeswetrust

 

Inspiring Portfolios

Aleksander Rodchenko
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Fabien Dendiével
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Umberto Verdoliva
© Umberto Verdoliva
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More Great Photographers To Discover

Louis Faurer
Louis Faurer
United States
1916 | † 2001
Louis Faurer was an American candid or street photographer. He was a quiet artist who never achieved the broad public recognition that his best-known contemporaries did; however, the significance and caliber of his work were lauded by insiders, among them Robert Frank, William Eggleston, and Edward Steichen, who included his work in the Museum of Modern Art exhibitions In and Out of Focus (1948) and The Family of Man (1955). Growing up in Philadelphia, Faurer showed an early aptitude for illustration. He bought his first camera in 1937 from the photographer Ben Somoroff. After a couple of jobs as a photographic technician, Faurer made his way to Manhattan and into the world of fashion photography. He quickly made contacts that stood him in good stead: Robert Frank, with whom he shared a darkroom/studio and fast friendship, and Walker Evans, whom he'd long admired, who introduced him to Alexander Liberman at Vogue. Faurer did fashion photography for Vogue, Junior Bazaar, Harper's Bazaar, Mademoiselle, Elle, and Glamour, as well as assignments for Life and Look for more than twenty years. He complained that his work at Life involved too much travel, so he quit in the early 1950s. Most of the prints and negatives of his fashion work have probably been discarded, as Faurer stored them with a friend when he left the country in the late 1960s, then failed to reclaim them. It is Faurer’s personal work from the 1940s, 1950s, and 1960s for which he is best remembered. He photographed the streets of New York City and Philadelphia, capturing the restless energy of urban life. His photographs show the great variety of the city's human face. As Robert Frank said in 1994: "Faurer ... proves to be an extraordinary artist. His eye is on the pulse [of New York City] - the lonely 'Times-Square people' for whom Faurer felt a deep sympathy. Every photograph is witness to the compassion and obsession accompanying his life like a shadow. I am happy that these images survive while the world keeps changing." Faurer experimented with blur, grain, double exposures, sandwiched negatives, reflections, slow film speeds, and low lighting. His 1950 photographs of Robert Frank and his new wife Mary at the San Gennaro Festival in New York are a case in point, exploiting maximum-aperture shallow depth of field, reflections and halation of out-of-focus light sources for intimate, romantic results. One of the series attracted the attention of curator Edward Steichen who included it in the world-touring Museum of Modern Art exhibition, The Family of Man, seen by 9 million visitors, and in its catalogue, which has never been out of print. As exacting in the darkroom as he was in the field, he was notorious for being a tireless perfectionist when it came to cropping and printing his work. In the mid-and late 1960s, Faurer experimented with hand-held 16 mm film, using Arriflex and Beaulieu movie cameras, filming in the streets of Manhattan, extending his still camera style into a cinematic medium. Between 1969 and 1974 he lived and worked abroad, mostly in Paris. From the mid-1970s to the mid-1980s, Faurer taught at numerous art schools and universities, including the Parsons School of Design in New York City, Yale University, the University of Virginia in Charlottesville, The New School for Social Research and Stockton State College in New Jersey. In 1984, while running to catch a New York city bus, Faurer was struck by a car and seriously injured. He never photographed again. Faurer spoke of his “intense desire to record life as I see it” as his only motivation: “As long as I’m amazed and astonished, as long as I feel that events, messages, expressions and movements are all shot through with the miraculous, I’ll feel filled with the certainty I need to keep going.” The late Walter Hopps, who was curator of American art at the Corcoran Gallery of Art and the Smithsonian's National Collection of Fine Arts, commented on Faurer's work: "I am in awe of the high point he can reach in a photograph such as Family, Times Square, at the center of New York in the center of our century. Perhaps no other American image stands comparison with Picasso’s Family of Saltimbanques, on their imagined European plane in 1905… Faurer stands and lives as a master of his medium."Source: Wikipedia
Jean-Francois Jonvelle
Jean-Francois Jonvelle
France
1943 | † 2002
Jean-François Jonvelle, born on October 3, 1943, in Cavaillon was a French photographer of fashion, glamor and portraiture. Work on the release of 20 ans magazine and then work on Dim, Dam, Dom, Vogue, Stern, Gala, Elle. In the 1960s, Jonvelle was assistant to Richard Avedon. During his career, he made many portraits of women, often his friends: natural young people, often naked, unconcerned. Unlike other fashion and glamor photographers, who offer a provocative woman, Jean-François Jonvelle's performance is much softer, more natural, more jovial but equally sensual. He died at the age of 58 years of terminal cancer, 15 days after it was detected on January 16, 2002, in Paris.Source: Wikipedia Jean-François Jonvelle was snatched by the hand of death with a suddenness to match the photographs that were his life. Just as that life was dedicated to capturing these stolen moments, so death followed suit, carrying him off in the midst of life. A tumor was discovered in early January, a final farewell just a fortnight later. He was gone in a flash. As I turn the pages of my friend’s last book my eyes mist over. My tears dissolve Jonvelle’s photographs into the soft focus of a David Hamilton. Jonvelle’s work is often described as being – in the time-honored formula – ‘sexy but not vulgar’. I prefer his own description of what he sought out: ‘la poésie du quotidien’, ‘the poetry of the everyday’. Photographs freeze moments of truth, all you have to do is choose the ones that do it best. "I tell myself that the present and the future don’t exist", he also used to say. "Everyone, every day, creates their own past." The quality that makes his images more moving than the rest is their vulnerability. Jonvelle taught me one crucial lesson: in photography, as in literature, what counts is feeling. Eroticism and tenderness are not sworn enemies. A downy arm, the frail nape of a neck, an uptilted breast, the curve of a back beneath the sheets, damp hair, closed eyelids, the trace of a kiss on the neck all these can be arousing. Jonvelle’s women are fresh and natural because they are unaware of our gaze. Jonvelle makes adoring voyeurs of us all. He shows us why heterosexuality can be so painful: everywhere, in every house and every bathroom, paradise lurks. Paradise delicately removes her T-shirt, brushes her teeth, buttocks pert, the curve of her breasts taut, timeless. Suddenly paradise parts her legs in silence, biting her fingernails as she looks you straight in the eye, teasing you as she waits for you on the sheets. Jonvelle is in paradise now, but for him nothing has changed: he was already there in his lifetime. As I gaze in wonder, the way I always do, at these images, so far removed from the familiar clichés, my thoughts turn to the beautiful women he immortalized. Photographs fix the fleeting, immortalize the ephemeral. Many of the women Jonvelle photographed are now old or dead, but – thanks to this photographer who is now also dead – their perfection will never fade. Every one of Jonvelle’s photographs is a declaration of love. One day, at my request, he photographed Delphine Vallette, the mother of my daughter. I wanted to give this brunette whom I loved a portrait. Never have I felt such a cuckold – though in the most erotic of ways. Beauty is an evanescent mystery that some artists have the ability to capture. As I look again at these wonderful images, I’m reminded of the title of that American comedy Drop Dead Gorgeous. Jonvelle’s work as a whole is not an ode to femininity; the story it tells is of the battle to vanquish death by means of the celebration of desire. All these shoulders caught by surprise, these half-seen breasts, these finely- arched insteps, these flawless backs, this sensual solitude, this calm between two storms, all these beautiful women who don’t give a damn are simply doors softly opened, through which we may catch a glimpse of eternal life. -- Frédéric Beigbeder Jean-François Jonvelle was born in 1943 in Cavaillon, south of France. Soon he will sell famous melons to buy Hasselblad. Its inspirations will come from the painting of Balthus, Bacon, of Schiele, but the true influence comes from films from Mankiewicz, Lubitsch, Fritz Lang, Orson Welles, Arthur PEN, Minnelli and more recently of Terry Gillian of which it acknowledges to have seen eleven times the film Brazil; Finally its preferred film: Jules and Jim of François Truffaut. In 1959, it is the photographer George Glasberg who initiates him with photography while making him make the turn of France of the cathedrals. It is a photographic revelation which will leave it never again. At the age of 20 he becomes the assistant of the American photographer Richard Avedon. After this enriching experiment he becomes his own 'Master' whose favorite subject will be the woman. Her mom and her small sister of whom he always was very near will be her 'first agreeing victims'. Then come the first 'muse' and accomplice, Tina Sportolaro whom he meets in 1982 and with which he carries out some of his more beautiful images. Will be then Béatrice, Myriam and many others.Source: The Eye of Photography
Wiktoria Wojciechowska
Wiktoria Wojciechowska
Poland
1991
Born 1991, Lublin, Poland, Wiktoria Wojciechowska lives and works in Lublin and Paris. Graduated from the Academy of Fine Arts in Warsaw, Poland, Wiktoria was the 2015 winner of the Oskar Barnack Leica Newcomer Award for Short Flashes, portraits of drenched cyclists captured on the streets of Chinese’s metropolis. Between 2014 and 2016 she worked on the series Sparks, a portrait of a contemporary war based on the stories of people living in the Ukrainian conflict. This series received several awards, such Rencontres Internationales de la Photographie New Discovery award’s public prize, Madame Figaro prize and the Prix pour la Photographie, Fondation des Treilles. Labirinto (2017-2019) Labirinto explores the architecture seen as a vector for an ideology, spreading in the inhabitants' thoughts. Architecture stays longer than its creators and might still smuggle fundamental ideas and atmosphere of passed days. Labirinto project is a starting point to discuss how the architecture influence inhabitants and if a city, structured as a symbol of fascist ideology, can become a dwelling for strangers. Wiktoria Wojciechowska works in the area of Agro Pontino in Italy: formerly marshes, which were, throughout centuries, a challenge for the authorities. The Romans, Popes and Napoleon have all tried to drain, recultivate it and build new settlements. The one who achieve the goal was Benito Mussolini, with the help of the hard work of World War I combatants. At the beginning of the '30s, the project of the foundation of the New Cities (Città nuove) started. The best Italian architects of these times were involved to draw the net of streets on the Pontine plain as on a blank page. They were to arrange the monuments and neighborhood buildings - following the current of rationalist architecture, adopted by the fascist as the official style of the ideology - of five cities: Littoria, Pontinia, Sabaudia, Aprilia and Pomezia. Designed in the model of "the rural city", they should serve as a renewal of civilization (Bonifica della cultura) and the so-called Mussolini's Arcadia for a "purified nation" of New Italians. This is how Littoria has been conceived, in 1932, from the mud and has been raised as the first of the five Mussolini's New Cities. Littoria was called the "jewel of Mussolini" and radiated by the combination of a stellate network of streets and curved ring roads, all converging towards the central square (Piazza del Littorio, now Piazza del Popolo). The labyrinth-like city was awaiting the new residents coming from the entire Italy to live in the empty buildings and appreciate the monumental solutions drawn upon the Roman Empire tradition. After World War II, the city was rebaptized to Latina to obliterate its fascist past and became a temporary asylum for displaced Italians and migrants. Between 1957 and 1991, 80 000 foreigners passed by the refugee camp. They were coming from Eastern Europe, fleeing the communist regimes, from Vietnam, Northern Africa, etc. Despite the official closing of the camp in 1991, migration is still an ongoing process. Today, the majority of newcomers originate from sub-Saharan Africa, Nigeria, Gambia, Ghana, Mali… The artist describes her work: In the middle of the day, during "the siesta", when the city is hot and stuffy, the streets become empty. The pale facades of the buildings reflect the sunlight like mirrors and hurt the eyes. As in De Chirico's paintings, the palisades are playing with lights and shades. The emptiness creates an illusion that we are back in the 30s. Only the scratches and colored patches on the walls unmask the timeworn city. From time to time, human figures flash by in the sun. These are those who get lost in this labyrinth, not knowing the rules of the city. They barely arrived there, but who gets into the labyrinth once, might not be able to wriggle out ever. Today in front of Palazzo M - built in the shape of the initial of Mussolini, a queue of immigrants is standing and waiting for their documents. Wiktoria Wojciechowska observes the city - silent witness of changing times - and recent immigrants, far from being integrated. During the conversations, they often mention the discrimination, preconceived ideas, and the fear of locals; their superiority coming from the colonial past, racism. They feel suspended, awaiting decisions and documents, trapped in the city space. The locals expect to move the immigrants out of the cities; they are not to be seen, as they "change the landscape", they should be invisible. The ideology, which sponsored the construction of the cities, is still lying under their foundation. Hidden but yet vivid, deep inside the consciousness. Looking further, Labirinto can be the metaphor of the current sociopolitical situation of all Europe, where newcomers from other continents are seeking asylum and acceptance. The fear of locals (who might have been migrants too) remains, and politics don't promote reconciliation. The policy of fear enables the authorities to seize control of the population's thoughts and define the enemy. The works of Wiktoria Wojciechowska are juxtaposing the fascist architecture - undefined corners of streets, scattered walls, and remains of fascist sculptural iconography - and the portraits of recently arrived migrants. As they wander through a temporarily deserted city, occupying the scene of a petrified ideology, the public space, they reveal a striking contrast with this ideology embodied in the architecture.
Bill Brandt
Bill Brandt
Germany/United Kingdom
1904 | † 1983
Bill Brandt  was a British photographer and photojournalist. Born in Germany, Brandt moved to England, where he became known for his images of British society for such magazines as Lilliput and Picture Post; later he made distorted nudes, portraits of famous artists and landscapes. He is widely considered to be one of the most important British photographers of the 20th century. Photographers should follow their own judgment, and not the fads and dictates of others. Photography is still a very new medium and everything is allowed and everything should be tried and dared... Photography has no rules. It is not a sport. It is the result which counts, no matter how it was achieved. -- Bill Brandt Born in Hamburg, Germany, son of a British father and German mother, Brandt grew up during World War I, during which his father, who had lived in Germany since the age of five, was interned for six months by the Germans as a British citizen. Brandt later disowned his German heritage and would claim he was born in South London. Shortly after the war, he contracted tuberculosis and spent much of his youth in a sanatorium in Davos, Switzerland. He traveled to Vienna to undertake a course of treatment for tuberculosis by psychoanalysis. He was, in any case, pronounced cured and was taken under the wing of socialite Eugenie Schwarzwald. When Ezra Pound visited the Schwarzwald residence, Brandt made his portrait. In appreciation, Pound allegedly offered Brandt an introduction to Man Ray, in whose Paris studio Brandt would assist in 1930. In 1933 Brandt moved to London and began documenting all levels of British society. This kind of documentary was uncommon at that time. Brandt published two books showcasing this work, The English at Home (1936) and A Night in London (1938). He was a regular contributor to magazines such as Lilliput, Picture Post and Harper's Bazaar. He documented the Underground bomb shelters of London during The Blitz in 1940, commissioned by the Ministry of Information. During World War II, Brandt focused every kind of subject - as can be seen in his Camera in London (1948) but excelled in portraiture and landscape. To mark the arrival of peace in 1945 he began a celebrated series of nudes. His major books from the post-war period are Literary Britain (1951), and Perspective of Nudes (1961), followed by a compilation of the best of all areas of his work, Shadow of Light (1966). Brandt became Britain's most influential and internationally admired photographer of the 20th century. Many of his works have important social commentary but also poetic resonance. His landscapes and nudes are dynamic, intense and powerful, often using wide-angle lenses and distortion. Brandt died in London in 1983.Source: Wikipedia See the subject first. Do not try to force it to be a picture of this, that or the other thing. Stand apart from it. Then something will happen. -- Bill Brandt Bill Brandt was one of the acknowledged masters of 20th-century photography. Taken as a whole, his work constitutes one of the most varied and vivid social documents of Great Britain. Brandt was largely self-taught in photography and worked as a student-assistant to Man-Ray in Paris from 1929 to 1930. This exposure would determine the surrealist undercurrent and tension of many of Brandt’s images. Brandt’s work was shown in numerous exhibitions throughout Europe and the US during his career, including two one-person exhibitions at the Museum of Modern Art in 1948 and 1969. There are over a dozen published books of his work from the 1930s through the 1980s. Brandt’s work was extensively collected by the Victoria and Albert Museum, London; the Bibliothèque Nationale de France, Paris and the Museum of Modern Art, New York.Source: The Halsted Gallery
Juanan Requena
Juanan Requena
Spain
1983
Juanan was born in an arid village in La Mancha, where he was captivated by the horizons as he built huts among the maize fields. Following beautiful failures and continuous drifts, he moved to the South Sea, where he learnt hendecasyllables and quejíos selling books and serving coffees. He became a traveller while wiring the tours of rock 'n' roll bands and filling up endless diaries. In this way, he roamed nomadically, covered in salt residue and shrouded in doubts, until he persuaded himself that poetry and the gaze could converge in the same incandescence. Today, he still strives incessantly to reflect this struggle.
Anton Gorlin
Anton Gorlin
Australia
Anton Gorlin is a landscape and real estate photographer, who tries to capture the essence of the moment and beauty of shapes and forms. Originally from Ukraine, he now lives and works in Gold Coast, Australia. Anton enjoys the beauty of Australian nature and does several trips a year to keep his portfolio growing. Prints of his photos landed in Ukraine, Russia, Germany, Australia, USA and other countries. Anton's works have been published in various magazines and newspapers internationally. Photography for Anton started off as a hobby when he was sent to Australia for the first time for business. He got a compact camera and became involved instantly. After a short course to get into the techie stuff, he bought his first DSLR Nikon D80 and it served him well for years - until it got drowned in the ocean. Anton is mostly self-taught. After that short initial course, he gained 99% of his knowledge through the internet, articles and later digital editing course by Sean Bagshaw. Editing was always harder to master and Sean's course appeared to be a game changer for him. Anton has been freelancing since 2011 as a real estate photographer and in 2018 he's started growing his business, getting more clients and getting more involved in the real estate photography. Anton runs a photography blog with educational guides and tutorials and some free 4K wallpapers for download. He also performs landscape photography workshops in Gold Coast, Australia and editing lessons both online and offline.
Marcel Giró
Marcel Giró
Spain
1913 | † 2011
Marcel Giró was born in Badalona (Spain) in 1913. Since his youth he was fond of mountain trekking and photography. At the beginning of the Spanish Civil War he enlisted as a volunteer on the Republican side. In 1937, disappointed by the constant fighting between the different factions fighting against Franco, he decided to exile. He walked through the Pyrenees to France where he spent nearly two years doing all kinds of jobs. Finally in 1940 he was able to travel to Colombia with two Catalan companions, where they set up a small textile business. He married Palmira Puig, and they moved to Brazil, where they settled. In Brazil Giró resumed his hobby and ended devoted to professional photography. In 1953 he opened his own studio in Sao Paulo, Estúdio Giró. Marcel Giró became one of the leading photographers of the country, an active member of what became known as Escola Paulista. This movement, pioneer of modernist photography in Brazil was born around Foto Cine Club Bandeirante, in the 50s and 60s, with photographers like José Yalenti, Thomaz Farkas, Gertrudes Altschul, Eduardo Salvatore, Chico Albuquerque, Geraldo de Barros, Rubens Teixeira Scavone, Ademar Manarini, German Lorca and Gaspar Gasparian among others. He exhibited his works all over Brazil and around the world. His works are today in collections like the MASP (Sao Paulo Museum of Modern Art), Itaú Cultural (Itaú Bank), the Metropolitan Museum and the MoMA, in New York, among others. Giró was also one of the pioneers of advertising photography in Brazil. In his studio worked young assistants that later become world-renowned as great photographers like Marcio Scavone and JR Duran. After the death of his wife in 1978, he left professional photography and artistic photography. He sold the studio and returned to Catalonia. During the 80's and 90's, he began to paint with a very close criteria to his Photography works of the 50s. He died in Mirasol (Barcelona) in 2011, at age 98. For exhibitions and sales in Europe contact Toni Ricart Giró: toniricart@marcelgiro.com For exhibitions and sales in rest of the world Isabel Amado: isabel@isabelamado.com.br
Ray Knox
Ray Knox
United Kingdom
1960
I am a documentary photographer based in London. After studying Graphic Design at the University of Ulster, I moved to London to start my career as an Art Director. Working as a creative in various advertising agencies, I’ve been fortunate to have collaborated with, and learned from, some inspirational photographers. Encouraged by those photographers, I began making documentary projects and I now divide my time between photographing my personal projects and my advertising creative work. Close To Home "I started this photography project shortly after the introduction of the first Covid-19 lockdown as a way of alleviating my restlessness from being confined to home all day. I would venture out on my neighbourhood walks just after dusk when the streets were deserted and eerily quiet. Initially, I stuck quite close to home but over time I kept increasing the distance I covered on my meandering strolls around North London. The solitude I found wandering the streets was an almost meditative experience of simply observing as I walked. It gave me the chance to explore my local surroundings more intently and notice things. I had overlooked for years. What a revelation, streets so familiar during the day were completely transformed after dark. I discovered an alluring beauty photographing under streetlights casting their individual hues, transforming a mundane space by creating a surreal, dreamlike quality and inducing an air of mystery. Artificial light is much more controlled, and you can almost see more clearly because the light focuses your attention on a certain feature or colour. It also illuminates a scene in much the same way you would light a still life or a stage set. I get excited when I have the opportunity to photograph in fog as this gives light a wonderful cinematic quality, reminiscent of film noir. I believe there are an infinite number of interesting pictures to be made on our doorstep, but you have to search for them. Looking ahead I hope to continue this project through capturing the quiet beauty of my neighbourhood at night, which often goes unnoticed."
Iulian Ignat
Iulian Ignat
Romania
1972
I am not a professional photographer, but photography is much more than just a hobby. I`m Romanian, born in July 1972 in Bucharest. I began to take photography seriously in my twenties encouraged by my father. As a editor for a magazine, I traveled a lot in the countryside so the photos from my first exhibition, in 2000, were mainly portraits of peasants and gypsies. My next exhibitions were about dance, theater, jazz festivals, Venice Carnival, or life in a monastery. I`m still using analog cameras and film, just because I find no joy in taking pictures on digital. I am fascinate about photography, and attracted of classical street photography as well as abstract or news ways of approaching a portrait.You are welcome to take a look on my website and my blog.
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Latest Interviews

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Exclusive Interview with Susan Anthony
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Exclusive Interview with Carole Mills Noronha
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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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In our latest exclusive feature for All About Photo, I speak with veteran photography representative Frank Meo about what it truly takes to build a sustainable creative career today. Frank brings decades of experience working with Fortune 500 companies, major agencies, and documentary photographers to the table. We dive into the critical business skills often left out of art school curriculums, the power of mentorship, and the inspiring evolution of PROJECTIONS—his international salon platform for visual storytellers. It’s an essential read for anyone navigating the commercial or editorial photography landscape today.
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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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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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Exclusive Interview with Matthew Finley
American photographer Matthew Finley turns inward, using photography as a way to explore identity, memory, and emotional truth. Based in Los Angeles, his practice moves between performance, gesture, and found imagery, creating a visual language that is both intimate and deeply personal
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Exclusive Interview with Jan Janssen
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Exclusive Interview with Jan Janssen
Dutch photographer Jan Janssen explores universal human experiences through his long-term project It Matters, winner of the May 2025 Solo Exhibition. Begun in 2016, the series captures intimate moments of everyday life—love, loss, connection, and belonging—across Central and Eastern Europe. Working in countries such as Turkey, Azerbaijan, and Armenia, Janssen spends extended time within communities, building relationships based on trust and respect. His approach allows him to move beyond observation, revealing deeply human and authentic moments. Rooted in travel and personal discovery, It Matters reflects Janssen’s search for what connects us all in an increasingly divided world. The project is ongoing and will culminate in a photobook scheduled for publication in 2026.
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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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