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Sarah Ketelaars
Sarah Ketelaars
Sarah Ketelaars

Sarah Ketelaars

Country: United Kingdom

Sarah Ketelaars is a British photographer from Brighton, UK. She has a BA and an MA degree in English Literature from Jesus College, Cambridge, an MSc in Social Science from the Robert Gordon University in Aberdeen and a Diploma in photography from City College, Brighton. She began her career as a journalist and her images have appeared on book, CD and magazine cover. Her work has been exhibited nationally and internationally and is represented by Trevillion Images & Getty, and by 35 North Gallery in Brighton. In 2021 she was selected as one of the Lensculture Critics’ Choice winners for her project ‘Windows’ shot during lockdown in Houston, Texas and in 2024 she was selected as a finalist for her project ‘The 544’ in the Lensculture Art Photography Awards.


The 544
This ongoing project is a memorial to 544 psychiatric patients murdered by the Nazis in 1941 in Latvia. The figurative images I’ve made are all cyanotypes. Eventually there will be one for each man, woman and child killed.

My grandmother was working at the hospital from where the patients were taken. I have visited the hospital and found that although the story is known no memorial exists. The only official record seems to be a short paragraph in the Nuremberg report. So far I have found no record of the names.

Using a historic photographic process feels fitting for a project examining a historical event. An ancient pagan Latvian folk symbol is drawn on by hand in gold ink to each piece.

It is impossible for me to look at these images without thinking about how the lives of these people ended. However, the project is primarily intended as a memorial. I wanted the images to hint at some more celebratory moments, to remember the lives lived before these people entered the hospital; before they died. Not knowing anything about the identities of the dead, I have tried to imagine each one as a unique, precious being, and give each back a little of the character stripped from them when they were murdered and reduced by history to a number on a list of nameless victims.

The project is the second in a trilogy looking at my family history, examining themes of cultural inheritance, identity and intergenerational trauma.

Agencies

Trevillion Images

Getty Images

Gallery

35 North Gallery

Exhibition

The 544

Websites

www.sarahketelaars.com

@sarahketelaars

 

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More Great Photographers To Discover

Shams Radwan
Shams Radwan
Egypt
1988
Shams Radwan, 26 years old from Egypt, is a passionate storyteller and artist dedicated to capturing and sharing the beauty of life through every detail. Growing up in a country rich in diverse cultures and deep-rooted heritage, Shams has been inspired by the vibrant traditions and stories that shape its identity. Her artistic journey began with a deep fascination for Egypt’s cultural tapestry, which she channels into creative works that celebrate heritage. Through her art, Shams transforms the beauty and narratives of Egypt's traditions into pieces that bridge the gap between past and present. With a focus on preserving cultural identity, she highlights the intricate details and timeless stories that make each tradition unique. For Shams, sharing heritage is more than just a passion—it’s a mission to ensure that these traditions remain alive and appreciated by future generations. Her work continues to inspire and unite, reflecting a deep commitment to preserving and celebrating the legacy of her homeland. Statement "As an artist, my work is deeply rooted in preserving and celebrating the diverse cultural heritage of Egypt. Through my creations, I aim to capture the stories, patterns, and traditions that have shaped generations, transforming them into art that bridges the past and present. My mission is to ensure that these invaluable traditions remain alive, appreciated, and understood, while inspiring future generations to explore the richness of their roots. By weaving the timeless beauty of our heritage into modern narratives, I seek to foster a sense of connection and unity through art." Awarded Photographer of the Week - Week 02
Adolphe Braun
Adolphe Braun
France
1812 | † 1877
Jean Adolphe Braun was a French photographer, best known for his floral still lifes, Parisian street scenes, and grand Alpine landscapes. One of the most influential French photographers of the 19th century, Braun used contemporary innovations in photographic reproduction to market his photographs worldwide. In his later years, he used photographic techniques to reproduce famous works of art, which helped advance the field of art history. Braun was born in Besançon in 1812, the eldest child of Samuel Braun (1785–1877), a police officer, and Marie Antoinette Regard (born 1795). When he was about 10, his family relocated to Mulhouse, a textile manufacturing center in the Alsace region along the Franco-German border. He showed promise as a draftsman, and was sent to Paris in 1828 to study decorative design. In 1834, he married Louis Marie Danet, who he had three children with: Marie, Henri, and Louise. That same year, Adolphe, alongside his brother Charles, opened the first of several unsuccessful design partnerships. After several unsuccessful design ventures in the 1830s, Adolphe Braun published a successful collection of floral designs in 1842. Upon the premature death of his wife 1843, Braun sold his Paris studio and moved back to Mulhouse, where he became chief designer in the studio of Dollfus-Ausset, which provided patterns for textiles. He remarried to Pauline Melanie Petronille Baumann (1816–1885) on 12 December 1843 and had two more children with her; son Paul Gaston and daughter Marguerite. In 1847, he opened his own studio in Dornach, a suburb of Mulhouse. In the early 1850s, Braun began photographing flowers to aid in the design of new floral patterns. Making use of the recently developed collodion process, which allowed for print reproduction of the glass plates, he published over 300 of his photographs in an album, Fleurs photographiées, in 1855. These photographs caught the attention of the Paris art community, and Braun produced a second set for display at the Paris Universal Exposition that same year. In 1857, Adolphe Braun formed a photography company, Braun et Cie, and with the help of his sons, Henri and Gaston, and several employees, set about taking photographs of the Alsatian countryside. These were published in 1859 in L’Alsace photographiée, and several were displayed at the 1859 Salon. By the 1860s, the Braun et Cie studio was operating in a factory-like manner, producing all of its own materials except paper. The studio created thousands of stereoscopic images of the Alpine regions of France, Germany, Switzerland, and Italy. Braun also produced a number of large-format panoramic images of the Alpine countryside, using the pantoscopic camera developed by English inventors John Johnson and John Harrison. Photography historian Naomi Rosenblum described Braun's work as representative of the relationship between art and commercialism in the mid-19th century. His self-sustaining Mulhouse studio helped elevate photography from a craft to a full-scale business enterprise, producing thousands of unique images which were reproduced and marketed throughout Europe and North America. Rosenblum also suggests that Braun's detailed reproductions of works of art in European museums brought these works to art students in North America, providing a major catalyst for the field of art history in the United States. Braun's early photographs were primarily of flowers, originally taken to complement his work as a pattern designer. Subsequent photographs focused on Alpine landscapes, especially lake scenes, and glacier scenes. Unlike many landscape photographers during this period, Braun liked to include people in his scenes. Photography historian Helmut Gernsheim suggested that Braun was one of the most skillful photographers of his era in rendering composition. While not known as a portraitist, he did take portraits of several notable individuals, including Pope Pius IX, Franz Liszt, and the Countess of Castiglione, mistress of Napoleon III. Braun's work has been exhibited at the Metropolitan Museum of Art, The J. Paul Getty Museum, the George Eastman House, and the Musée d'Orsay. His photographs of Parisian street scenes and Alpine landscapes are frequently reproduced in works on the history of photography.Source: Wikipedia Trained as a fabric designer, Adolphe Braun began his photography career in 1853. His photographs of flowers, for a catalog titled Fleurs photographiées, were to be transferred onto printing blocks for wallpaper and fabric designs. It was an extremely successful project for Braun; one album of the photographs was presented to Empress Eugénie of France, and it earned him a medal at the 1855 Paris Exposition Universelle. By the early 1860s, Braun's focus had shifted to the making of topographical views of scenes throughout Europe and, beginning in 1866, to reproductions of works of art. The reproduction of paintings, drawings, lithographs, engravings, and sculpture was an important endeavor in France, and photography provided an accurate record. Braun opened a photography studio that became one of the world's largest publishers of such images. In 1869 Braun's was one of only two photographic firms invited to photograph the opening of the Suez Canal in Egypt.Source: The J. Paul Getty Museum
Raymond Cauchetier
Raymond Cauchetier
France
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Raymond Cauchetier was a French photographer, known for his work as the set photographer from 1959 to 1968 on many films of the French New Wave. His photographs are an important record of the New Wave directors at the beginning of their careers, and of their unconventional and groundbreaking production methods. A 2009 profile of Cauchetier in Aperture magazine declared that his photographs "are themselves central works of the New Wave." Cauchetier was born in Paris on 10 January 1920. His mother worked as a piano teacher. She raised him as a single parent; he never met his father. Cauchetier dropped out after completing grammar school. He escaped from Paris by bicycle and joined the French Resistance after the Fall of France in 1940. After World War II ended, Cauchetier enlisted in the French Air Force as the First Indochina War was unfolding. He began his career in photography there serving as a combat photographer in Vietnam. He consequently purchased his own Rolleiflex camera and utilized it for most of his career. Cauchetier was conferred the Legion of Honour by Charles de Gaulle, in recognition of his battlefield work. Cauchetier remained in the region after his service in the Air Force concluded, taking pictures of Angkor Wat in Cambodia. He gifted a set of 3,000 pictures to Norodom Sihanouk, which were ultimately destroyed by the Khmer Rouge. Cauchetier met director Marcel Camus, who was in Cambodia to shoot the film Mort en fraude (Fugitive in Saigon), in 1957. He was subsequently recruited as the set photographer. Upon Cauchetier's return to France, he failed to find work as a photojournalist. He was instead employed to take pictures for photo-romans, a kind of photographic graphic novel, by publisher Hubert Serra. Through Serra, Cauchetier became acquainted with Jean-Luc Godard, then working as a film critic and hoping to become a filmmaker himself. Godard hired Cauchetier as the set photographer for his debut film, À bout de souffle (1960), a breakthrough both for Godard and for French cinema. Other films Cauchetier worked on include Léon Morin, prêtre, directed by Jean-Pierre Melville, and Jules et Jim (1962) by François Truffaut. His photographs of the production in 1960 of Godard's film, Une femme est une femme, captured off-camera moments of Godard and lead actress Anna Karina. Godard and Karina married the following year. Raymond Cauchetier stopped working as a set photographer in 1968 due to the job's low pay. He continued publishing photographs, but his images from the New Wave are considered by critics to be his best work. Amendments to the copyright law of France in the mid-2000s granted photographers the rights to pictures they had captured as a paid employee. Consequently, many of Cauchetier's previously unseen works were able to be released. His collection titled Photos de Cinéma was published in 2007. Six years later, the Academy of Motion Picture Arts and Sciences hosted an exhibition of his work in Los Angeles. He went on to publish the artist's book Raymond Cauchetier’s New Wave in 2015. Raymond Cauchetier turned 100 in January 2020. In September of that year, an exhibition of his notable photos was held at the Galerie de l'Instant in Paris. He died five months later on 22 February 2021 in Paris. He was 101, and was diagnosed with COVID-19 during the COVID-19 pandemic in France prior to his death.Source: Wikipedia Taking a photojournalist’s approach to the job, he instead shot Belmondo and Seberg in action, making carefully framed, richly textured photographs that captured moments of play and spontaneity. His pictures also showed Godard and cinematographer Raoul Coutard at work, offering future film historians a rich trove of behind-the-scenes images. “In assembling his movie-centered still-photo dossiers, he created perhaps the greatest and most revealing photographic documents ever made of films in progress,” film author Richard Brody wrote in a 2015 New Yorker article. “Cauchetier is the auteur of set photographers.” Mr. Cauchetier photographed Godard pushing Coutard in a wheelchair, enabling the cinematographer to shoot a low-budget tracking shot; another photo showed the director with a canvas-covered trolley cart equipped with a hole for the camera, which Godard used to shoot on the busy Champs-Élysées. In one of his best-known images, he photographed Seberg kissing Belmondo on the cheek, while the actor gripped a cigarette and gazed into the distance. Although it was inspired by a sequence in “Breathless,” the image never appeared in the film. “That day, to avoid the crowds, Godard shot from up high on the fifth-floor of a building,” Mr. Cauchetier told The Guardian in 2015. “You could just make out this minuscule couple parting with a chaste kiss in front of a newspaper stand. I went down afterwards and said I wanted to do a close-up of a kiss because it summed up their characters so well. They obliged. It lasted five seconds.”Source: The Washington Post
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Francis Frith
United Kingdom
1822 | † 1898
Francis Frith was an English photographer of the Middle East and many towns in the United Kingdom. Frith was born in Chesterfield, Derbyshire, attending Quaker schools at Ackworth and Quaker Camp Hill in Birmingham (c. 1828–1838), before he started in the cutlery business. He suffered a nervous breakdown in 1843, recuperating over the next two years. In 1850 he started a photographic studio in Liverpool, known as Frith & Hayward. A successful grocer, and later, printer, Frith fostered an interest in photography, becoming a founding member of the Liverpool Photographic Society in 1853. Frith sold his companies in 1855 in order to dedicate himself entirely to photography. He journeyed to the Middle East on three occasions, the first of which was a trip to Egypt in 1856 with very large cameras (16" x 20"). He used the collodion process, a major technical achievement in hot and dusty conditions. Photographs taken by Frith are held in the Conway Library of Art and Architecture at the Courtauld in London. When he had finished his travels in the Middle East in 1859, he opened the firm of Francis Frith & Co. in Reigate, Surrey, as the world's first specialist photographic publisher. In 1860, he married Mary Ann Rosling (sister of Alfred Rosling, the first treasurer of the Photographic Society) and embarked upon a colossal project—to photograph every town and village in the United Kingdom; in particular, notable historical or interesting sights. Initially he took the photographs himself, but as success came, he hired people to help him and set about establishing his postcard company, a firm that became one of the largest photographic studios in the world. Within a few years, over two thousand shops throughout the United Kingdom were selling his postcards. Many of his photographs were collected into published volumes. Initially these works were compiled by established publishing companies. However, by the 1860s, Firth realized that he could profit from publishing his own images and established the publishing company F. Frith & Co. Frith died at his villa in Cannes, France, on 25 February 1898, aged 75. His family continued the firm, which was finally closed in 1971. Following closure of the business, Bill Jay, one of Britain's first photography historians, identified the archive as being nationally important, and "at risk". Jay managed to persuade McCann-Erikson the London advertising agency to approach their client Rothmans of Pall Mall on 14 December 1971 to purchase the archive to ensure its safety. Rothmans went ahead and acquired the archive within weeks. Frith was re-launched in 1975 as "The Francis Frith Collection" by John Buck, a Rothmans executive, with the intention of making the Frith photographs available to as wide an audience as possible. On 25 August 1977, Buck bought the archive from Rothmans, and has run it as an independent business since that time – trading as The Francis Frith Collection. In 2016 the company completed a two-year project to scan the entire archive and now holds over 330,000 high resolution digital images. The company website enables visitors to browse all 330,000 Frith photographs, depicting some 7,000 cities, towns and villages.Source: Wikipedia Born into a Quaker family in 1822 in Chesterfield, Derbyshire, Francis Frith was a remarkable person, philosophical and devoutly religious by nature and pioneering in outlook. He was a complex and multi-talented man who had a formidable instinct for business. By the time he founded his photographic publishing company in 1860 he had already established a wholesale grocery business in Liverpool which was so successful that by the mid 1850s he was able to sell it for a price which made him a the equivalent of a multi-millionaire today. Frith had been a founder member of the Liverpool Photographic Society in 1853 – only 14 years after the invention of photography, 1839. Between 1856 and 1860, as a gentleman of leisure, he made three pioneering and sometimes dangerous photographic expeditions to the Middle East, taking bulky cameras, equipment and glass plates with him and travelling by boat, donkey, mule and camel. These journeys took him to Egypt, Nubia, Ethiopia, Sinai, Palestine, Lebanon and Syria, and established his reputation as an outstanding pioneer photographer. The photographs he took on these expeditions were marketed by the London firm of Negretti & Zambra as hugely popular stereoscopic views, and were also published in London and New York in limited edition part-works of prints, with sales totalling over £3 million in today’s value.Source: www.francisfrith.com
Stéphan Gladieu
Stéphan Gladieu
France
1969
Stéphan Gladieu was born in 1969 and lives in Boulogne-Billancourt. He is represented by Olivier Castaing of the School Gallery in Paris and Artco Gallery in Germany, Cape Town and Joshua Tree. He began his career in 1989, covering war & social issues, travelling across Europe,Central Asia, the Middle East (Afghanistan, Iran, Iraq, Israel, Egypt, Pakistan) and Asia (India, Nepal, Vietnam, China, etc). Going back to his beginnings, he very quickly enriched his photographic writing by using portraiture to bear witness to the human condition in the world. His main focus is on his personal and artistic work through series of portraits in which DNA is colour and the play of contrast between subject and background in natural settings. Stéphan Gladieu plays on the iconic character of the frontal image and on the frontier between the real and the unreal. His portraiture has included covering the Saudi Princes, Princesses in Nepal, actors & directors behind the scenes at Cannes Film Festival, politicians, intellectuals, but also everyday people the world over. Stephan still realize international features and portraits series, for international magazines but he is mainly focused on is personal work: human story through colorful portrait collection. On the side of his journalist activity, Stephan is working with private company (LVMH, Danone, TOTAL…) and International institutions (World Bank, UNICEF) to work on their visual identity. Nowadays, Stephan Gladieu’s work is published in leading publications in France and internationally.Source: www.stephangladieu.fr Exclusive Interview with Stephan Gladieu
Elizabeth Bourne
Elizabeth Bourne
United States
1964
I describe myself as an artist using a camera rather than as a photographer since I am more concerned with creating an emotional connection with the viewer rather than technical perfection. After living most of my life in the Pacific Northwest, I went to Greenland in 2017 and everything changed. I fell in love with the high arctic. In 2018 I had artist residencies in both Svalbard and Iceland. In 2019, at a time when most people my age are thinking about retirement and grandchildren, I packed seven suitcases, and moved to Longyearbyen. Now I live in the world's northernmost town on the archipelago of Svalbard. I work almost exclusively in the arctic. My work, both painting and photography, have been exhibited nationally and internationally. In 2019 I was honored to receive the Vision Excellence Award from the Miami Photography Center during Art Basel Miami for best work in a series. Svalbard: Land without Borders which is an ongoing project. My work has been collected by Adobe, Corel Draw, and the City of Seattle. About the work: In the arctic, glaciers ten thousand years old rise in shimmering cliffs of light. These ice rivers calve towering icebergs with life spans of only two years. The paleocrystic beauty of the high arctic is as rich as any Tahitian sunset. There is a struggle between those who would exploit the arctic, and those who would preserve it. I have chosen to document these changes in Svalbard, the last land without borders on our planet. My goal is to engage a heart-felt reaction in the viewer. I believe the artist must have a passion for her subject, and a core need to communicate that passion. My hope is that my work will show the arctic's beauty so that people will choose to preserve it. We need the ice. Not just for environmental reasons, but also to maintain the last truly wild, untouched place on our crowded planet.
Colin Jones
Colin Jones
United Kingdom
1936
Colin Jones is an English ballet dancer-turned-photographer and prolific photojournalist of post-war Britain. Jones documented facets of social history as diverse as the vanishing industrial working lives of the North East coalfields, Grafters, delinquent Afro-Caribbean youth in London, The Black House, hedonistic 1960s Swinging London with pictures of The Who early in their career, the 1963 race riots in Alabama, Soviet Leningrad, and remnants of a rural Britain now lost to history. Jones was born in 1936. He experienced a war childhood; his father, a Poplar, East End printer, went away as a soldier on the Burma campaign. Jones' family was evacuated to Essex and he attended a succession of thirteen schools whilst struggling with dyslexia, before the age of sixteen, when he took up ballet lessons. In 1960 Jones was called up for national service and served in the Queen's Royal Regiment. Fresh out of the army, Colin joined the Royal Opera House, later moving to the Touring Royal Ballet and embarked on a nine-month world tour. Jones met, and for four years was married to, the great ballerina Lynn Seymour. Whilst on tour and running an errand for Dame Margot Fonteyn, he purchased his first camera, a Leica 3C rangefinder, in 1958 and started taking photographs of the dancers and backstage life during the Australian leg of the circuit. Jones admired the available-light backstage photography of Michael Peto, a Hungarian émigré, who agreed to mentor him. Colin Jones took advantage of the ballet company's travel to photograph extensively in the streets of Tokyo, Hong Kong and the Gorbals, Glasgow in 1961. Driving with fellow dancers from Newcastle to Sunderland that year, he saw, north of Birmingham, coal searchers on the spoil-heaps. In 1962, having changed his career to become a photographer for The Observer he returned to produce a series of photographs recording the vanishing industrial working poor and mining communities in the North East of England, later publishing the essay as the book Grafters. At The Observer he worked alongside photographers Philip Jones Griffiths and Don McCullin. He worked in Fleet Street for several years before turning freelance. Commissioned assignments took him to New York City in 1962; Liverpool docks in 1963; the race riots in Birmingham, Alabama, USA, where he made portraits of both 'Bull' Connor, and Dr Martin Luther King in 1963; Leningrad, USSR in 1964. In 1966 he photographed the British rock band The Who at the beginning of their career, and Pete Townshend, then Mick Jagger in 1967. He travelled to the Philippines in 1969 where he photographed the sex trade. He portrayed significant dancers, including Rudolph Nureyev for several publications. Jones’ work has been published in major publications including Life, National Geographic, Geo and Nova as well as many supplements for major broadsheet newspapers, most prominently The Times, who dubbed Jones "The George Orwell of British photography". In his later career he covered assignments around the world, including Jamaica in 1978; the indigenes of the New Hebrides and Zaire in 1980; Tom Waits in New York, 1981; San Blas Islands in 1982; Ireland in 1984; Xian, China in 1985; Ladakh in northern India 1994 and Bunker Hill, Kansas in 1996. Solo exhibitions have been devoted to his work: The Black House: Colin Jones at The Photographers' Gallery in London, 4 May – 4 June 1977 as well as at many other galleries. Martin Harrison’s Young Meteors associated Jones with other important British photographers including Don McCullin and Terence Donovan. In 2013 the Victoria and Albert Museum acquired three of Jones' historic photographs from The Black House series, along with a photograph by Dennis Morris depicting the original Black House associated with Michael X, both acquired as part of Staying Power, a five year partnership between the V&A and Black Cultural Archives, preserving black British experience from the 1950s to the 1990s through photographs and oral histories. The Arts Council also purchased his work.Source: Wikipedia The art of photography remains so fascinating because of the individuals who arrive from unexpected places and take the medium through a lifetime of changes. The career of Colin Jones has a startling trajectory. He was born in 1936, in time to be a war child, a father away as a soldier, and 13 different schools. An element of chance, as well as talent, led to a scholarship at the Royal Ballet School. The moment that defined Jones's later life occurred as he was driving with fellow-dancers from Newcastle to Sunderland one day in 1961. Travelling north of Birmingham and seeing the winding gear of coalmines had always excited Jones, who was steeped in the books of George Orwell, but now he saw the extraordinary drama of spoil-heaps swarming with coal searchers - an epic of reality and survival. Colin Jones is one of the most celebrated and prolific photographers of post-war Britain. He has documented facets of social history over the years as diverse as the vanishing industrial working lives of the Northeast (Grafters), delinquent Afro-Caribbean youth in London (The Black House), and most recently, the high-octane hedonism of Swinging London with his famous pictures of The Who early in their career. His work has been published in every major publication with any regard for the image and photography. Such as Life, and National Geographic, as well as many supplements for the major broadsheets. He has had solo exhibitions at the National Gallery of Art in Washington DC and at the Photographers Gallery in London, as well as at many other venues internationally.Source: Michael Hoppen Gallery
Ralf Peters
Ralf Peters
Germany
1960
In the series "24 Hours" Peters reflects on the moment of simultaneousness. He dissolves the visual antagonism between the moment before and afterwards in each image. The works represent the light cycle of one day, starting from the left at night, passing daylight and ends again in the darkness of the night. The time states are not superimposed one upon the other but set side by side. In an extraordinary technique Ralf Peters obtains that the transition of the different daytimes is shown as in fast motion and is continued without any cuts, but can be noticed in the brightness and the illumination of the motif. Day and night are united in one image and at the same time, appearing invisible and visible. The variety of subjects going from exotic landscapes to cool architecture allows a reflection about our own world and foreign surroundings referring to a superior relationship of time and space. (Source: Diana Lowenstein Gallery) Ralf Peters is a conceptual photographer who creates visual studies of places and objects, often in thematic series. Playfully navigating between fantasy and reality, Peters manipulates digital images to challenge the viewer’s conception of traditional photography, raising the question as to whether something is a realistic rendering or a skillfully manipulated vision. Through the creation of portraits of everyday locations like supermarkets, gas stations, and swimming pools, Peters explores the possibilities for the photographic medium. Manipulating the focus, lighting, and composition of his images, Peters creates photographs that obscure the traditional notion of capturing an individual’s perspective on reality, favoring, instead, constructed works that comment on the aesthetic relationship we have to our surrounding environment. Peters’s works have been shown at notable institutions including the Hamburg Kunsthalle and Museu de Arte Moderna de São Paulo. (Source: Art Space) Represented by: Diana Lowenstein Gallery Galerie Kornfeld Galerie Bernhard Knaus Fine Art Galerie Martin Mertens Galerie Andres Thalmann
Brad Patocka
Brad Patocka
United States
Born in Upstate NY, USA to a blue-collar upbringing, I was quickly drawn to the rugged environments of the outdoors. This inevitably led to an unrelenting quest for exploration and travel, always driven by a curiosity of what the world is and what it can be. Like many, I first became interested in the photography from Nat Geo magazines, looking at images of the vastly different cultures and habitats around the globe produced by the countless photographers who would grow to be my idols. The aesthetic quality of a physical print really drew me in, photos that can depict a specific situation while also speaking to a larger issue or narrative resonated with me and inspired me to first pick up a camera. I believe we are all story tellers in some way, shape, or form. For me being able to effectively do just that in a single frame has always been the goal. Having the opportunity to cover important issues, and to present them in a powerful light that will ideally create some sort of change or impact others to consider the world we live in, is the ultimate goal. Traveling the globe in pursuit of various projects, I have found my works range from humanitarian aid, human rights, and environmental issues. Discover Brad Patocka's Interview
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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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Exclusive Interview with Josh S. Rose
Interview
Exclusive Interview with Josh S. Rose
Josh S. Rose is a multidisciplinary artist working across photography, film, and writing. His practice bridges visual and performing arts, with a strong focus on movement, emotion, and the expressive potential of the image. Known for his long-standing collaborations with leading dance companies and performers, Rose brings together authenticity and precise composition—a balance he describes as “technical romanticism.” His work has been commissioned and exhibited internationally, appearing in outlets such as Vogue, at the Super Bowl, in film festivals, and most recently as a large-scale installation for Lincoln Center for the Performing Arts. A sought-after collaborator, he has worked with major artists, cultural institutions, and brands, following a previous career as Chief Creative Officer at Interpublic Group and the founder of Humans Are Social. We asked him a few questions about his life and work.
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Interview with Maureen Ruddy Burkhart
Interview
Interview with Maureen Ruddy Burkhart
Photographer Maureen Ruddy Burkhart brings a quietly attentive and deeply human sensibility to her exploration of the world through images. Shaped by a life immersed in photography, film, and visual storytelling, her work is guided by intuition, observation, and an enduring interest in the emotional undercurrents of everyday life. With a practice rooted in both fine art traditions and documentary awareness, she approaches her subjects with sensitivity, allowing subtle moments to emerge naturally rather than be imposed. Her series Til Death, selected as the Solo Exhibition for February 2025, reflects this long-standing commitment to photography as a space for reflection rather than spectacle. Drawn to moments that exist just outside the expected frame, Burkhart’s images suggest narratives without resolving them, leaving room for ambiguity, humor, and quiet connection. We asked her a few questions about her life and work.
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