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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

 

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More Great Photographers To Discover

Denis Karasev
Denis Karasev
Russian Federation
1981
Denis Karasev is a photographer born in 1981 in the USSR. He runs a design agency and is involved in theatre lighting design. His work includes architecture, street and art photography. Since 2019 he has been making ZINes, shooting series and projects. He is interested in exploring the constantly changing world and capturing it in the present moment as is - for himself and for history. Owns a Siberian cat. Awards, Shows and Mentions - Travel 2018 Smithsonian Institution Magazine, USA - Finalist of the Brussels Street Photography Festival 2018 - Finalist of the London Street Photography Festival 2019 - Honorable Mention in the 2019 International Photography Awards (Architecture) - Urban Photo Awards 2020 finalist (Spaces) - Photo Union 2022 (Russia), Architecture ('SVO Project')
Erich Hartmann
Erich Hartmann
Germany / United States
1922 | † 1999
Erich Hartmann was a German-born American photographer. Hartmann was born July 29, 1922 in Munich, Germany, the eldest child of Max and Irma Hartmann who lived in Passau, a small city on the Danube near the Austrian border in which they were one of a five Jewish families. Erich Hartmann's family belonged to the middle class, and his father, a social-democrat who served during World War I and been imprisoned by the British, was highly respected. In 1930, only eight years old, Erich took his first photographs. Life became increasingly difficult after the Nazi takeover in 1933, including personal, financial, business, and family restrictions and the beginning of deportations of Jews to the first so-called 'labor camp' in the village of Dachau. The Hartmann family moved to Munich that year, in search of a more tolerant and cosmopolitan environment. The situation only worsened, however, and the family determined that they had to leave Germany. In August 1938, they accepted the opportunity to emigrate to the United States, having received the necessary affidavit of support from distant relatives there. They sailed from Hamburg to New York, staying initially in Washington Heights, before settling outside Albany, New York. The only English speaker in the family, Erich Hartmann worked in a textile mill in Albany, New York, attending evening high school and later taking night courses at Siena College. On December 8, 1941, the day after the attack on Pearl Harbor, the US entered the war, and Erich enlisted in the US Army. Trained in Virginia and at Ohio State University, he had to wait until 1943 before serving in England, Belgium (Battle of the Bulge) and France, and with the liberating forces as a court interpreter at Nazi trials in Cologne, Germany. At the end of the war he moved to New York City where, in 1946, he married Ruth Bains; they had two children, Nicholas (born in 1952) and Celia (born in 1956). During these years, he worked as an assistant to portrait photographer George Feyer, and then as a freelancer. He studied at the New School for Social Research with Charles Leirens, Berenice Abbott, and Alexey Brodovitch. His portrait subjects over the years included architect Walter Gropius, writers Arthur Koestler and Rachel Carson, musicians Leonard Bernstein and Gidon Kremer, actor Marcel Marceau, fellow photographer Ed Feingersh, and many other literary and musical personalities. Music played a great role in his life and work: "Music captured me before photography did," he recalled. "In my parents' house there was not much music except for a hand-cranked gramophone on which I surreptitiously and repeatedly played a record of arias from Carmen. This was before I could read!″ In the 1950s Erich Hartmann first became known to the wider public for his poetic approach to science, industry and architecture in a series of photo essays for Fortune magazine, beginning with The Deep North, The Building of Saint Lawrence Seaway and Shapes of Sound. He later did similar essays on the poetics of science and technology for French, German and American Geo and other magazines. Throughout his life he traveled widely on assignments for the major magazines of the US, Europe and Japan and for many corporations such as AT&T, Boeing, Bowater, Citroën, Citibank, Corning Glass, DuPont, European Space Agency, Ford, IBM, Johns Hopkins University, Kimberly-Clark, Pillsbury Company, Nippon Airways, Schlumberger, TWA, and Woolworth, for all of which he used color. In 1952 he was invited to join Magnum Photos, the international photographers’ cooperative founded in 1947 by Robert Capa, David Seymour, George Rodger and Henri Cartier-Bresson, he served on the board of directors from 1967 to 1986, and as President in 1985–1986. For more than eight weeks in 1994, Erich and Ruth Hartmann undertook a winter journey to photograph the remains of the Nazi concentration and extermination camps, and places of deportation, throughout Europe. He was determined to take only black and white photographs and to capture only what he saw, immediately when arriving, no matter whether days looked like nights. He returned to New York with 120 rolls of film, from which he made a first edit of 300 photographs and a final selection of only 74 frames. These, together with text by Ruth Bains Hartmann, formed the book and exhibition In the Camps, published in 1995 in English, French, and German and exhibited in more than twenty venues in the US and Europe in the years since. In all of his travel, for work and pleasure, Hartmann carried a small camera with a few rolls of black and white film, prepared for every visual opportunity. He also deliberately pursued a series of imaginative projects including experiments with ink in water, stroboscopic light effects, beach pebbles constrained in boxes, and others. In the late 1990s, with an eye to a future retrospective exhibition, Hartmann began making a definitive selection from fifty years of this personal work in black and white. Just a few months before his death he began discussions with a gallery in Austria about organizing an exhibition called Where I Was. On February 4, 1999 Erich Hartmann died unexpectedly from a heart attack in New York. Source: Wikipedia In the late 1960s and 1970s he lived in London. He documented the construction of the Britannia aircraft for the Bristol Aeroplane Company and he photographed for the leading colour magazines: the Sunday Times, the Observer and the Telegraph, notably on such stories as Shakespeare's Warwickshire and The Norman Conquest Descendants. For the Weekend Telegraph he made sensitive colour pictures of Styles of English Architecture, in a series of photo-essays for which Sir John Betjeman wrote the words, and he also travelled with Betjeman to the Faeroe Islands. Later Hartmann returned to Germany where he had lived in the shadow of the Nazis until he was 16, and chose a project for himself: the death camps. He made an unforgettable book, In the Camps (1995). He said, "I simply felt obliged to stand in as many of the camps as I could reach, to fulfill a duty that I could not define and to pay a belated tribute with the tools of my profession." The book is a magnificent tribute. There is hardly a person in it. So solitary is it, so desolate, that we people the pages with our own ghosts, we bring to it our own fears and imagery. These imaginings have the feeling of poetry. We see a room full of broken shoes; another room of battered satchels; another of torn children's clothes; the windowless barracks in four tiers in which multitudes tried to survive; or a square in which a gallows hangs in the wind. The railway tracks which many took into the camp; a single gas chamber in Auschwitz. It is hard to go from examining the book to describe all Erich Hartmann did for the Magnum co-operative when he served on the board or was vice-president (1975 and 1979) or president (1985). Burt Glinn describes how he and Hartmann came to Magnum at the same time, almost 47 years ago: "We have photographed together and met together and consulted together about ethics and journalism, and we have attended 46 Magnum General Meetings, the first with only eight other photographers and the last with more than 50, but all of them passionate, contentious and personal." He goes on: "Through all these years Erich, more than anyone else, has been my moral compass. No matter how knotty the problem he never settled for the facile compromise. He was always wise, judicious, and ferocious to find the right answer rather than the easy one. When I suspected that I was pursuing my self-interest rather than the common good I would glance over at Erich and if I encountered his quizzically cocked eyebrow I would shut up."Source: Independent
Sean Perry
Sean Perry
United States
1968
Sean Perry is an Austin-based photographer creating atmospheric portraits of the built environment across Texas, New York, and Japan. His photographs and books are held in the permanent collections of the Museum of Fine Arts, Houston; Amon Carter Museum of American Art; Harry Ransom Center; The Wittliff Collections; Yale University; Seattle Art Museum; and the Menil Collection. In 2009 he was selected as a finalist for the Hasselblad Masters Award. Perry attended Berklee College of Music and was a working musician before establishing his photographic practice in 1996. Cloverleaf Press published his first limited edition book, Transitory, in 2006, followed by Fairgrounds in 2008. Both were featured as a case study in Publish Your Photography Book (Princeton Architectural Press, 2011 & 2014). In 2025, he released Fairgrounds: Box Set, a lettered edition of 26. His photographs have been published in The New York Times Magazine, Billboard, New York, Graphis, L'Œil de la Photographie, and American Photography. He has served as Department Chair of Photography & Visual Media at Austin Community College since 2018, and previously taught at the School of Visual Arts in New York City. In 2023, he co-founded Photobook Austin with Bryan Schutmaat. Interview with Sean Perry (2014) All About Photo: When did you realize you wanted to be a photographer? Sean Perry: When I was younger I didn't know or have access to any professional photographers, but I really loved movies and looked at a lot of books. At that time I got into music and everything else was just secondary. As a musician I always thought about pictures and the visual atmosphere great songs provoke and in my thirties I started photographing and haven’t stopped. Where did you study photography? With whom? I don’t have a formal background studying photography but it’s not quite right to say I'm self taught either. One of my old bandmates, Jeff Miller is a brother to me, a great photographer and my first teacher - I learned about cameras, making good pictures and printing in the darkroom. That experience was also my first big introduction to contemporary artists like Joel-Peter Witkin and The Starns. I later had important mentors in a photographer I assisted for, Frank Curry and a sculptor who has had a tremendous influence on me as an artist and photographer, John Christensen. Do you have a mentor? I have a few friends and colleagues who I admire and trust that I ask for insight and guidance with various things... Elizabeth Avedon, Jace Graf, Stephen Clark - there are others. I ask different people, different questions for different reasons if that makes sense. I think it's important to deeply consider who you ask and why. I've been a client of Mary Virginia Swanson for many years and her savvy is always invaluable, I truly owe her a great deal. I'm always learning and seeking out the chance to improve and grow. How long have you been a photographer? I have been making pictures consistently since 1996 and started working professionally in 1998. Do you remember your first shot? What was it? What I remember most are the pictures that when I saw the film, they made me feel that the image was somehow better, or more than my capability at the time. It would lead to months of chasing and trying to catch up to the image. The first time that happened was of a barren tree in the wintertime, backlit. I remember making the other pictures from that time, but the experience of seeing something unexpected back on the contact sheets always sticks with me as meaningful. What or who inspires you? Music always. Also the discovery and study of people that give themselves to their pursuits with the discipline and heart to be excellent. New York City. Late fall leading to snow and cold weather makes me happy. How could you describe your style? A little romantic but not sentimental - sci-fi but not overtly conceptual. I always work to make beautiful images and objects that don’t apologize for their consideration of aesthetic and design. My experience has taught me there is a strange, small line between beautiful and pretty, arbitrary and yet often substantial. I think my favorite word or aim for my work is earnest, and hopefully elegant. I try to be consistent and to quote someone I deeply respect, Paul Rand – "Don’t try to be original, just try to be good." What kind of gear do you use? Camera, lens, digital, film? I’m fluent in digital tools and use them to manage images online etcetera, but I have used the same camera gear for over twelve years. Hasselblad 501CM with a 120mm lens and 25A Red filter. Tri-X film in A12 backs. Processed in D76, 1 to 1. Silver gelatin prints bleached and then toned in combinations of sepia and selenium or platinum–palladium prints from enlarged negatives. Do you spend a lot of time editing your images? I tend to run film and then not look at it for a while.... I then go through the contact sheets and make work prints of the things that seem to have promise. As the series and work evolves the process of editing, sequencing and design kicks in. After the edges of a project are more or less in place, I’ll go back again and see what I may have missed on the contact sheets. Favorite(s) photographer(s)? If I am only allowed one, Irving Penn – hands down, no one else. I love books and too many favorites to list, but in no particular order others would be Saul Leiter, Ted Croner, Robert & Shana Parke-Harrison, Tom Baril, Louis Faurer, Edward Burtynsky, Albert Watson, Hiroshi Sugimoto, Berenice Abbott and Matt Mahurin. What advice would you give a young photographer? Fearlessly make all the bad pictures you need to in order to get to the good ones. Not thoughtlessly in the number of images, but without hesitation in the intent to chase your ideas. When you are disappointed, try to understand why specifically – was it a technical mistake your effort and experience will resolve over time or was it about vision in what you could or could not see at that moment. The technical things are usually easier to improve upon, I have found the other takes additional perseverance and courage. For myself there is always the confrontation of closing the distance between the potency I’m after and the many challenges at hand while guiding it there. I think the biggest secret is simply not to quit. What mistake should a young photographer avoid? Everyone is different, so very hard to say. I believe one truth for myself has been it’s more valuable to invest time in what your pictures, your life, your point of view are all about and less energy worrying about the urgency sometimes encouraged in technology and shorter term concerns. Play long ball. An idea, a sentence, a project you would like to share? I am currently administrating an ambitious project that connects college students with high school students, creating mentorship and the development of visual language. For the college students it is to illustrate the value of mentorship from both sides, as well as create meaningful dialogue about photography and image making. It provides a mechanism for high school students to share and express their photographic work with a new audience and has direct, tangible advantages for everyone involved – accenting the importance of communication and emphasizing the photography community's tradition of portfolio review. Your best memory has a photographer? All of my favorite memories are darkroom related. My first darkroom was in John Christensen's studio, I deeply miss those days and that place. I would often print all day and all night - it's where I learned about photo-chemistry and the subtleties of split-toning and other irresistible alchemy. Your worst souvenir as a photographer? My checking account. If you could have taken the photographs of someone else who would it be? It's an interesting question but it reminds me of a rock & roll story, urban legend I remember as a kid and recently retold in Esquire Magazine. When Van Halen was touring in the late 70’s they were opening for Ted Nugent who admired Eddie Van Halen's guitar tone. Among other things, Eddie would hide one of his effect pedals (a tape echo) in an old bomb casing, adding to the mystery of his great tone and why he sounded the way he did. Everyone believed he had a "magic" black box. During sound check, Ted Nugent got the chance to play through Eddie’s rig and was disappointed to discover his guitar tone was unchanged – he sounded like he always did and whatever he loved about Eddie's tone was in his hands and not in the gear. I think photographs are like that, there are many pictures I would be thrilled if I had produced but in the end I can only make what is in my hands and heart. The images I love that others have made don't represent my life and could never belong to me. I remain a fan and audience to my heroes, happily so.
Noémie Goudal
Noémie Goudal
France
1984
Noémie Goudal's practice involves the construction of ambitious staged, illusionistic interventions within the landscape, documented using film and photography. Her oeuvre expands photography across its standard parameters, into immersive installations and performances, underpinned by rigorous research examining the intersection of ecology and anthropology and the limitations of theoretical conceptions of the natural world. Goudal's latest work unravels an artistic dialogue with the field of paleoclimatology, analysing climate and geology from the vantage point of "deep time" to acquire an understanding of our planet's trajectory. Goudal's work creates an intellectual bridge between our experience of "real time" and deep time, measured in millions of years, exposing the geographies of the earth as we know them to be mere momentary states in a cycle of continuous flux. Noémie Goudal (b.1984) graduated from the Royal College of Art (UK) in 2010 with an MA in Photography. She is currently shortlisted for the Prix Marcel Duchamp 2024. Solo exhibitions include Mostyn, Llandudno, UK (2024); FRAC Auvergne, Clermont-Ferrand, France (2024); ANIMA, Tate Modern, London, UK; Venice Theatre Biennale, Venice, Italy and Centre Pompidou, Paris, France (2023); Post Atlantica, Les Rencontres d'Arles, Arles, France (2022); ANIMA, Festival d'Avignon, Avignon, France (2022); Décantations, La Vitrine, Frac Île-de-France, Paris, France (2022); Post Atlantica, Le Grand Café Centre d'Art Contemporain, Saint-Nazaire, France (2021); Echos toujours plus sourds, Musée Delacroix, Paris, France (2021); Observatorium, Kunstverein Hildesheim, Hildesheim, Germany (2019); Telluris, Ballarat International Foto Biennale, Ballarat, Australia (2019); Telluris, Musée des Beaux-Arts Le Locle, Le Locle, Switzerland (2019); Stations, The Finnish Museum of Photography, Helsinki, Finland (2018); Southern Light Stations, The Photographer's Gallery, London, UK (2016); The Geometrical Determination of the Sunrise, FOAM Museum, Amsterdam, Netherlands (2015). Selected group exhibitions include Second Nature: Photography at the Age of the Anthropocene, Nasher Museum, Durham, NC, USA (2024-2026); Un Manifeste du regard sur la Nouvelle Aquitaine, Frac Nouvelle-Aquitaine La MÉCA, Bordeaux, France (2024); New Worlds: Women to Watch 2024, National Museum of Women in the Arts, Washington, USA (2024); PHOTO 24, Melbourne Photo Biennale, Melbourne, Australia (2024); Bella Vista, Centre d'Art Contemporain, Sant-Nazaire, France (2021); Accelerate Your Escape: Gary Hume Explores the Hiscox Collection, Whitechapel Gallery, London, UK (2020); Inner Space, Lisbon Architecture Triennale, National Museum of Contemporary Art, Lisbon, Portugal (2019); MELTDOWN: A Visualization of Climate Change, Horniman Museum, London, UK (2019). Goudal's work is held in public collections including Centre Pompidou, Paris, France; David Roberts Art Foundation, London, UK; FOAM Museum, Amsterdam, The Netherlands; Fotomuseum Winterthur, Winterthur, Switzerland; High Museum of Art, Atlanta, USA; Kadist Art Foundation, Paris, France; Kiran Nadar Museum of Art, New Delhi, India, the Victoria & Albert Museum, London, UK and The New Art Gallery Walsall, Walsall, UK. Noémie Goudal lives and works in Paris.
Dave Jordano
Dave Jordano
United States
1948
Dave Jordano was born in Detroit, Michigan in 1948. He received a BFA in photography from the College for Creative Studies in 1974. In 1977 he established a successful commercial photography studio in Chicago, IL, shooting major print campaigns for national advertising agencies. Since 2000, Jordano has concentrated on and established himself as an awarding winning mid-career fine art documentary photographer. He was awarded an honorable mention in the Houston Center for Photography’s Long Term Fellowship Project in 2003, and received the Curator’s Choice Award the following year for his documentary work on Small African American Storefront churches on the south side of Chicago. In 2006, 2008, 2013, and 2016 Jordano has been selected as a top 20 finalist in Photolucida's "Critical Mass" International Photography Competition. He was also selected for inclusion in "One Hundred Portfolios", a compilation featuring the work of 100 leading photographers from around the world and sponsored by Wright State University, Dayton, OH. A major exhibition of his work from the "Articles of Faith" project was held at the Chicago Cultural Center, Chicago, Illinois in 2009. In 2014-15 he was a finalist in the LensCulture Exposure Awards for his documentary work on Detroit and was also included in the highly competitive Outwin Boochever Portrait Competition at the National Portrait Gallery in Washington DC. Most notably, Jordano won the prestigious Canadian AIAMI / AGO Photography prize for 2015, which included a $50,000 prize and a six week, fully paid residency anywhere in Canada which he fulfilled by documenting the northern arctic town of Iqaluit, Nunavut, Canada. Jordano has exhibited both nationally and internationally and his work is included in several private, corporate, and museum collections. Most notably the Library of Congress, Prints and Photographs Division, Washington DC, the Museum of Contemporary Photography, Chicago, IL, The Museum of Fine Arts Boston, The Museum of Fine Arts Houston, The Detroit Institute of Arts, The Mary & Leigh Block Museum of Art at Northwestern University, Evanston, IL, the Harris Bank Collection, and the Federal Reserve Bank. His second book, published by the Center for American Places at Columbia College, Chicago titled, "Articles of Faith, Small African American Community Churches of Chicago", released in April 2009. His most recent publication, "Detroit - Unbroken Down" documents the cultural and societal changes of his home town of Detroit and was published in the fall of 2015 by PowerHouse Books, Brooklyn, NY. His fourth coming publication "A Detroit Nocturne" with an essay by Karen Irvine, Co-Director of the Museum of Contemporary Photography, Chicago, will also be published by PowerHouse Books and has a launch date scheduled for April 2018. Dave Jordano currently lives in Chicago, Illinois.
Sinan Kiliç
Sinan Kiliç
Turkey
1979
Sinan Kiliç, living in Izmir, Turkey is one of the co-founders of Mahzen Photos. He has taken part in many photo festivals and exhibitions at national and international level. In the belief that photography has an important power in terms of witnessing time and the formation of social consciousness he takes photographs both in the field of street and documentary photography. He organizes photo workshops for children. He is also teaching in various photo workshops and is one of the co-founders of a photo art workshop named "No 238" in Izmir. MOTTO OF CITY AND LIFE A city is actually a visible or an invisible multitude; With its buildings, wracks and ruins, Lives glide from the walls, shadows, loneliness and crowds... The feelings of losing our eye sight that is disintegrated by this multitude... The connections and the contacts of the subjects which are similar to each other as you walk and as you contact, there is a connection of the bodies. The city and the body parts are with this connection, actual identities are lost and the new identity scenes are created!
Laurent De Gebhardt
Laurent De Gebhardt
France
1969
My childhood and adolescence were nourished by painting galleries and museums. Portrait and nude were my preference. After my studies, I crossed the Sahara and moved to the African bush for 2 years as a teacher then moved to Reunion Island where I began to make photo reports for NGOs. For a few years now, I have developed personal projects in artistic residency, mainly oriented towards the intimate and the portrait. My inner universe is imbued with a quest for an "original state" prior to any injury. The face is very often a revealing which does not deceive of this interior state and this quest specific to each one. Fascinated by the energy given off by the expression of a face, my work tries to draw closer with portraits to the reading of these inner states, perhaps to find my own way. Taxidermus Taxidermus is a series produced with the staff of the St-Denis Natural History Museum (Reunion Island). I wanted to play with the same characteristic codes of the first photos of the 19th century. The characters created posed with studied seriousness, in classic postures based on carefully chosen elements: armchair, desk, mirror, easel... Adventure and travel stories nourished my imagination from childhood and I found behind the scenes of the museum an atmosphere suitable for reviving these stories. I installed lights to recreate these chiaroscuro from the Flemish school and with the assistance of a team I dressed and styled these characters using authentic period costumes. I also found period objects in local associations and my hairdressing assistant studied period hairstyles to reproduce them as closely as possible
Paolo Ameli
Paolo Ameli
Italy
1970
Paolo Ameli, was born in Genoa, Italy. After completing his studies in architecture, he works as an art director for various advertising agencies in Genoa. He also works as a freelance photographer. Over the years he has made several short films that have won several national awards. He moved to Milan in 1997 where he began collaborating with Mercurio Cinematografica Production house as production assistant, producer and director. He has been a Freelance director since 1999. He is the author and director of several commercials and music promos. In 2002 he made the short film "Rosso Fango" which, among the various awards, won the David di Donatello in 2003, up to the semi-finalist selection at the 2004 Oscars in the "Live Action Short Film" section. As an mateur photographer he has always cultivated his passion for landscape and nature photography. In the past twenty years he has photographed places around the world with an infrared converted camera.
Rebecca Gaal
Rebecca Gaal
United States
1985
Rebecca Gaal is a humanitarian and conservation photographer, painter, illustrator, writer and student of International Public Health studies. She is devoted to examining healthcare issues, environmental concerns and the relationships between the two. Her work has taken her across the globe where she has been witness to the full spectrum of humanity. Gaal’s passion is long term, in-depth projects where she can watch the progression or degradation between man, medicine, nature and it’s inhabitants. Gaal’s work aims to show the interconnectedness of issues, to create better understanding and find solutions. The hope is that with understanding, empathy and change have a chance to grow. When not on assignment or teaching photography courses, Rebecca can be found racing outrigger canoes, working in the garden with her golden retrievers, puttering in the garage or drawing while the coffee brews. Rebecca is available for international assignments, editorial and commercial work.
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Exclusive Interview with Marijn Fidder
Interview
Exclusive Interview with Marijn Fidder
Marijn Fidder is a Dutch documentary photographer whose work powerfully engages with current affairs and contemporary social issues. Driven by a deep sense of social justice, she uses photography to speak on behalf of the voiceless and to advocate for the rights of those who are most vulnerable. Her images have been widely published in major international outlets including National Geographic, CNN Style, NRC Handelsblad, Volkskrant, GUP New Talent, and ZEIT Magazin. Her long-term commitment to disability rights—particularly through years of work in Uganda—culminated in her acclaimed project Inclusive Nation, which earned her the title of Photographer of the Year 2025 at the All About Photo Awards. She is also the recipient of multiple prestigious honors, including awards from World Press Photo and the Global Peace Photo Award. We asked her a few questions about her life and work.
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