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Alireza Bagheri Sani
Alireza Bagheri Sani
Alireza Bagheri Sani

Alireza Bagheri Sani

Country: Iran
Birth: 1984

Alireza Bagheri Sani is an Iranian photographer celebrated for his expertise in minimalism and storytelling. With over eight years of experience, he combines technical skills with a distinct artistic vision. Alireza earned his filmmaking degree from the Iranian Youth Cinema Society (2018) and a certificate in Cinema Direction from Hillaj Film School (2001). His work spans various styles, including conceptual, street photography, and landscapes.

Notable achievements include:
- Gold Award at the World Master of Photography (WMPO) 2023.
- First Place for "No.3" at the ColorPro Award 2022, acclaimed for blending minimalism and surrealism.
- Second Place at the International Photography Awards (IPA) 2021.
- Winner at the London International Creative Competition (LICC) with the "Minimal Cargo" series, highlighting beauty in everyday scenes.

His dedication to minimalism reflects a focus on simplicity, removing distractions to emphasize the subject's essence. Alireza's work challenges conventional perspectives, transforming ordinary sights into compelling compositions recognized globally for innovation and depth.

Awarded Photographer of the Week - Week 16

Websites

www.alirezabagheris.com

@alireza.b.sani

 

Inspiring Portfolios

Marjolein Martinot
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Jackson Patterson
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More Great Photographers To Discover

Ernest Cole
Ernest Cole
South Africa
1940 | † 1990
Ernest Cole was born in South Africa’s Transvaal in 1940 and died in New York City in 1990. During his life he was known for only one book: House of Bondage – published in 1967. In 2011, the Hasselblad Foundation produced a follow-up: Ernest Cole: Photographer. Cole’s early work chronicled the horrors of apartheid and in 1966 he fled the Republic of South Africa becoming a ‘banned person’. He was briefly associated with Magnum Photographers and received funding from the Ford Foundation and Time-Life. In North America, he concentrated on street photography in primarily urban settings. Between 1969 and 1971, Cole spent an extensive amount of time on regular visits to Sweden where he became involved with the Tiofoto collective and exhibited his work. From 1972, Cole’s life fell into disarray and he ceased to work as a photographer, losing control of his archive and negatives in the process. Having experienced periods of homelessness, Cole died aged forty-nine of pancreatic cancer in 1990. In 2017, more than 60,000 of Cole’s negatives missing for more than forty years were discovered in a Stockholm bank vault. This work is now being examined and catalogued.Source: Magnum Photos Ernest Cole (1940–1990)—one of South Africa’s first black photo-journalists—created powerful photographs that revealed to the world what it meant to be black under apartheid. With imaginative daring, courage, and compassion, Cole portrayed the everyday lives of blacks as they negotiated apartheid’s racist laws and oppression. Apartheid, which means “apartness” in Afrikaans (the language of South Africa’s white minority of Dutch descent), was an often brutally enforced legal policy that separated people by race in all aspects of life, within a white supremacist hierarchy of power. Born in Eersterust, a black freehold township in Pretoria, Cole was forcibly relocated with his family to nearby Mamelodi in the late 1950s. While still a teenager, he began working as a darkroom assistant at Drum, a black lifestyle magazine in Johannesburg. There he mingled with young black South African photographers, journalists, jazz musicians, and leaders of the burgeoning anti-apartheid movement. Inspired by Henri Cartier-Bresson’s photo-essays, Cole embarked on a life mission to produce a book that would awaken the rest of the world to apartheid’s corrosive effects. House of Bondage was published in New York in 1967. Although it was immediately banned in South Africa, contraband copies spurred on the country’s emerging activist photographers. Cole’s images are hard-hitting and incendiary, yet often subtle and even elegant. He frequently worked clandestinely with a hidden camera to capture scenes he was forbidden to photograph, employing striking perspectives and framing. Many of the prints on view here are displayed for the first time uncropped, as he originally intended, and often accompanied by House of Bondage’s incisive captions. In 1966 Cole was arrested by the South African police. Fleeing to Europe, he took with him little more than the layouts for his book. He spent the remaining 23 years of his life in painful exile between Sweden and the United States; after 1975 he was often destitute, living on New York City streets and in the subway. In 1990 he died of cancer at the age of 49—one week after Nelson Mandela’s release from prison. Nearly all his possessions were lost; fortunately, he had given some prints to Tio Fotografer, a Swedish photographers’ association, which later donated them to the Hasselblad Foundation. Bringing this remarkable artist’s works to the international stage, Ernest Cole Photographer commemorates his pioneering efforts to capture the complex truths of day-to-day, lived experiences during harrowing times. Critiquing institutionalized segregation and celebrating human resilience, Cole challenged the status quo, and his work continues to speak eloquently and forcefully to contemporary issues of poverty and racial inequality in the United States and worldwide.Source: Grey Art Gallery, NYU
Erik Hadife
Erik Hadife
Lebanon
1998
Erik Hadife (b. 1998) is a Lebanese street photographer and filmmaker whose work explores the quiet strangeness of urban life at night. After studying at LSE and MIT, and working in strategy consulting in New York, he left the corporate world to focus fully on his practice. Hadife’s latest work responds to cities that move faster than our ability to notice them. In public spaces shaped by speed, his images slow the pace, drawing attention to fleeting interactions and unguarded moments caught in artificial light. His work has been exhibited internationally, including in New York, Venice, Athens, and Beirut. Statement Erik Hadife photographs cities at night, drawn to the quiet moments where something subtle shifts – where the ordinary starts to feel slightly off, and a glance or gesture reveals something beneath the surface. He works instinctively, following artificial light as it cuts through the dark, isolating people and briefly pulling them into focus before they disappear again. His work lingers on a tension at the heart of urban life: being surrounded, yet alone. These images hold on to fleeting encounters – where people cross paths without really meeting – and sit in that strange space between who we are and the environments we’ve built around us. Awarded Photographer of the Week - Week 14, 2026
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
Bryce Olsen
Bryce Olsen
United States
1985
Born and raised in the wild landscapes of northern Utah, Bryce Olsen found an early and enduring connection to the natural world. That connection now fuels his artistic approach to photography: advocacy through artistry. Bryce has a strong belief that our Earth’s natural landscapes deserve to be protected and preserved. Capturing his images on film and hand-printing each image in the darkroom, he works to follow in the footsteps of the fine craftsmen who came before him. Bryce holds a Bachelor’s degree in Photography from Brooks Institute, as well as Bachelor's and Master’s degrees in accounting. Awarded Photographer of the Week - Week 42, 2025
Steve Dinberg
Steve Dinberg
United States
The sense of adventure that comes with exploring new places and meeting new people is what keeps me interested in street photography. A fellow photographer once told me, “There are two reasons people travel: the first is to see something new, the other is to experience something old.” I have always been a passionate photographer. I look for that decisive moment, and I am constantly in search of that special magical light, interesting faces that reveal personal history, hands that tell a story, and amazing eyes that convey emotion, but most of all, I try to capture that moment of interaction. I instinctively look for the colors, shapes, and textures in a defined area. As a lifelong traveler, I look for a street, alleyway, or even the face of a person that conveys meaning to their surroundings. Every Face Has A Story I had the opportunity to visit the country of Romania and quickly fell in love with the people, their traditions and the magical countryside villages. Traveling through these Romanian villages high in the Carpathian mountains, I learned that their life style and traditions are quickly vanishing because the younger members are leaving the hard mountain life and have moved to the larger cities where life is clearly much easier. Everyone I met and spent time with are living alone high in the mountains because they refuse to leave their homes and leave behind their Romanian traditions, and each always welcomed me into their homes. These photographs give a close-up glimpse into their life and charm of the Romanian people.
Aleksander Rodchenko
Aleksander Rodchenko
Russia
1891 | † 1956
Aleksander Rodchenko was a Russian and Soviet artist, sculptor, photographer, and graphic designer who emerged following the Russian Revolution. He was one of the founders of Russian Constructivist and a Productivist artist, married to artist Varvara Stepanova. He began his career as a painter and graphic designer before moving on to photomontage and photography. His photography was socially involved, formally creative, and anti-painting. Concerned about the necessity for analytical-documentary picture series, Aleksander Rodchenko frequently shot his subjects from unusual angles—usually high above or low below—in order to shock the viewer and delay recognition. "One has to shoot several distinct photos of a subject, from diverse points of view and in varied settings, as though one viewed it in the round rather than looking through the same key-hole over and over," he wrote. Only the camera seems to be really capable of describing modern life. -- Aleksander Rodchenko Aleksander Mikhailovich Rodchenko was born in St. Petersburg to a working-class family that relocated to Kazan when his father died in 1909. He became an artist without any prior exposure to the art world, relying mostly on art periodicals for inspiration. Aleksander Rodchenko began studies at the Kazan Art School in 1910, under Nicolai Fechin and Georgii Medvedev, when he met Varvara Stepanova, whom he eventually married. The critic Osip Brik, 1924© Aleksander Rodchenko Following 1914, he continued his artistic education at the Stroganov Institute in Moscow, where he created his first abstract drawings in 1915, influenced by Kazimir Malevich's Suprematism. The following year, he took part in The Store, an exhibition organized by another formative influence, Vladimir Tatlin. Rodchenko's work was influenced heavily by Cubism and Futurism, as well as Malevich's Suprematist compositions, which featured geometric forms deployed against a white background. Aleksander Rodchenko was Tatlin's student and assistant, and the interest in figuration that characterized Rodchenko's early work faded as he experimented with design elements. He created his paintings with a compass and ruler, with the goal of eliminating expressive brushwork. Rodchenko worked for Narkompros and was one of the RABIS organizers. RABIS was founded between 1919 and 1920. In 1920, the Bolshevik government appointed Rodchenko as Director of the Museum Bureau and Purchasing Fund, with responsibility for the reorganization of art schools and museums. He became the secretary of the Moscow Artists' Union, established the Fine Arts Division of the People's Commissariat for Education, and assisted in the establishment of the Institute for Artistic Culture. From 1920 to 1930, he was a teacher at the Higher Technical-Artistic Studios, a Bauhaus organization with a "checkered career." It ceased operations in 1930. In 1921, Aleksander Rodchenko joined the Productivist group, along with Stepanova and Aleksei Gan, to advocate for the incorporation of art into everyday life. He abandoned painting to focus on graphic design for posters, books, and films. He was profoundly influenced by the ideas and practice of filmmaker Dziga Vertov, with whom he collaborated extensively in 1922. Impressed by the German Dadaists' photomontage, Rodchenko began his own experiments in the medium, first using found images in 1923, and then shooting his own photographs from 1924 on. In 1923, his first published photomontage illustrated Mayakovsky's poem About This. Rodchenko created his most famous poster in 1924, an advertisement for the Lengiz Publishing House titled Books, which features a young woman with a cupped hand shouting "Books in all branches of knowledge," printed in modernist typography. Photography has all the rights, and all the merits, necessary for us to turn towards it as the art of our time. -- Aleksander Rodchenko Portrait of the Artist’s Mother, 1924© Aleksander Rodchenko From 1923 to 1928, Rodchenko worked closely with Mayakovsky (of whom he took several portraits) on the design and layout of LEF and Novy LEF, Constructivist artists' publications. Many of his photographs were published in or used as covers for these and other publications. His images were concerned with the placement and movement of objects in space, as well as the elimination of unnecessary detail. During this time, he and Stepanova painted the well-known panels of Moscow's Mosselprom building. Varvara Rodchenko, their daughter, was born in 1925. Rodchenko's work was very abstract throughout the 1920s. He joined the October Group of artists in 1928, but was expelled three years later after being accused of "formalism," an accusation first leveled in the pages of Sovetskoe Foto in 1928. In the 1930s, as the Party's guidelines governing artistic practice shifted in favor of Socialist realism, he focused on sports photography and images of parades and other choreographed movements. In the late 1930s, Aleksander Rodchenko returned to painting, stopped photographing in 1942, and produced abstract expressionist works in the 1940s. Throughout these years, he continued to organize photography exhibitions for the government. In 1956, he died in Moscow.
Peikwen Cheng
Peikwen Cheng
China
1975
Peikwen Cheng studied product design at Stanford University, graduating in 1997. He is a self-taught photographer who has exhibited his work in Cambodia, Canada, China, Germany, Greece, Poland, Singapore, Sweden, Syria, United Kingdom and United States. Before turning his focus to art, he was a designer and was awarded with a United States Design Patent and an Industrial Design Excellence Award by the Industrial Design Society of America. Peikwen Cheng lives in Beijing. Peikwen Cheng is a Chinese-American artist based in New York and Shanghai. His work explores the process of change across cultures, time and place and seeks to discover magical moments in unexpected places. His art has been exhibited in Belgium, Cambodia, Canada, China, Luxembourg, Germany, Greece, Poland, Singapore, Sweden, Syria, United Kingdom and the United States; and his work has been featured by BBC, CNN, BBC, Financial Times, The Guardian, National Public Radio, The Sunday Times, and Vogue. He has been recognized by international awards including the Three Shadows Photography Award, National Geographic Award at the Eddie Adams Workshop, C/O Berlin Talents Award, Renaissance Photography Prize Category Winner, Flash Forward Selected Winner by the Magenta Foundation, Px3, and International Photography Awards. And as a designer, he was awarded with a United States Design Patent and an Industrial Design Excellence Award by the Industrial Design Society of America. He is a graduate of Stanford University, Tsinghua University and Insead. Source: Visura
Rip Hopkins
Rip Hopkins
United Kingdom
1972
Born in England in 1972, Rip Hopkins studied industrial design at ENSCI (Ecole Nationale Supérieure de Création Industrielle) in Paris. Working with Médecins Sans Frontières (Doctors Without Borders) he has made photoreportages and documentaries in numerous countries including South Sudan, Bosnia, Liberia, Uganda, Ingushetia, and East Timor. He joined Agence VU in 1996 and the following year received the Mosaïque Scholarship, the Kodak Young Photo-Reporter Award, the Observer Hodge Award and the Monographies Prize. In 2000, he was awarded the Fondation Hachette Scholarship to pursue his photographic work in Tajikistan. This led to his receiving the 2002 Fondation HSBC Award and the publication of Tajikistan Weaving (Actes Sud Editions). His book Displaced (Textuel Editions 2004) was produced with the support of the FIACRE Scholarship. Hopkins started photography when he was ten years old. It is his way of recording and documenting moments of his life and those of others. He sees photography as a tool presenting vast possibilities for intellectual and aesthetic expression. He combines his personal art work with the necessity of making a living, thus drawing on various means of support such as exhibitions, books, press work and films. This produces an on-going cycle: if a person sees a photograph then they know that it exists, so they can buy it, so the photographer can produce work and survive. So what is a photographer exactly? Ethnographer, artist, advertiser, teacher, crook, journalist, artistic director? Few professions are so diverse and so vague. A photographer is constantly confronted with questions such as: what is an image today? How long will it survive? How should it be made? Who wants it? What technique should be used? Should there be a point of view or a stand point? With each new project Rip asks himself these questions again and re-evaluates his role in today’s world. Rip Hopkins is a member of Agence Vu and is represented by Galerie Le Réverbère and by LT2. Source: www.riphopkins.com
Massimo Vitali
Massimo Vitali
Italy
1944
Massimo Vitali was born in Como, Italy, in 1944. He moved to London after high-school, where he studied Photography at the London College of Printing. In the early Sixties he started working as a photojournalist, collaborating with many magazines and agencies in Italy and Europe. It was during this time that he met Simon Guttman, the founder of the agency Report, who was to become fundamental in Massimo's growth as a "Concerned Photographer." At the beginning of the Eighties, a growing mistrust in the belief that photography had an absolute capacity to reproduce the subtleties of reality led to a change in his career path. He began working as a cinematographer for television and cinema. However, his relationship with the still camera never ceased, and he eventually turned his attention back to "photography as a means for artistic research." His series of Italian beach panoramas, starting in 1995, began in the light of drastic political changes in Italy. Massimo started to observe his fellow countrymen very carefully. He depicted a "sanitized, complacent view of Italian normalities," at the same time revealing "the inner conditions and disturbances of normality: its cosmetic fakery, sexual innuendo, commodified leisure, deluded sense of affluence, and rigid conformism." (October Magazine 2006, no. 117, p. 90, How to Make Analogies in a Digital Age by Whitney Davis) Over the past 22 years he has developed a new approach to portraying the world, illuminating the apotheosis of the Herd, expressing and commenting through one of the most intriguing, palpable forms of contemporary art - Photography. He lives and works in Lucca, Italy, and in Berlin, Germany sometimes. Vitali’s work has been collected in four books: Natural Habitats, Landscapes With Figures, Beach and Disco, and Entering a New World. His photographs have been published in magazines, newspapers, and other periodicals around the world. Additionally, his work is represented in the world’s major museums, including the Centro de Arte Reina Sofia in Madrid, the Guggenheim Museum in New York, the Museum of Contemporary Art in Denver, the Fond National Art Contemporain in Paris, the Musée National d’Art Moderne in Paris, the Fondation Cartier in Paris, and the Museo Luigi Pecci in Prato.
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Latest Interviews

Exclusive Interview with Carolyn Moore
Interview
Exclusive Interview with Carolyn Moore
American photographer Carolyn Moore explores the inner landscape of emotion, memory, and personal transformation through a deeply intuitive photographic practice. Her work unfolds as a quiet dialogue between artist and viewer, where images become a space for reflection, vulnerability, and connection.
Read the full interview
Exclusive Interview with Luca Desienna and Laura Estelle Barmwoldt
Interview
Publication
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
Interview
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
Interview
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.
Read the full interview
Exclusive Interview with Henk Kosche
Interview
Exclusive Interview with Henk Kosche
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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Exclusive Interview with Anastasia Samoylova
Interview
Exclusive Interview with Anastasia Samoylova
Anastasia Samoylova is an American artist whose photographic practice is shaped by close observation and a deep attentiveness to place. Working between documentary and formal exploration, she photographs landscapes, architecture, and everyday scenes with a sensitivity to light, structure, and atmosphere. Since relocating to Miami in 2016, her work has increasingly focused on how environments—both natural and built—carry social, cultural, and emotional traces. We asked her a few questions about her practice and her way of seeing, to better understand the thoughts and experiences that shape her work—while allowing the images themselves to remain open and speak in their own time.
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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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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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