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Tim Flach
Tim Flach
Tim Flach

Tim Flach

Country: United Kingdom
Birth: 1958

Tim Flach is an animal photographer with an interest in the way humans shape animals and shape their meaning while exploring the role of imagery in fostering an emotional connection. Bringing to life the complexity of the animal kingdom, his work ranges widely across species, united by a distinctive stylisation reflecting an interest in how we better connect people to the natural world.

He has four major bodies of work concerning different subjects: Equus (2008) focusing on the horse, Dogs Gods (2010) on canines, More Than Human (2012) a broad exploration of the world’s species, and Endangered (2017) a powerful document of species on the edge of extinction. He has published five books; Endangered (2017), Evolution (2013), More than Human, (2012), Dogs Gods (2010) and Equus (2008).

Flach is an Honorary Fellow of the Royal Photographic Society, and was awarded an Honorary Doctorate from University of the Arts London in 2013. He lives and works in London with his wife and son.

Source: timflach.com


Over the past decade, Flach's work has increasingly focused on animals, ranging widely across species but united by a distinctive style that is derived from his concerns with anthropomorphism and anthropocentrism. His interests lie in the way humans shape animals, and shape their meaning. He has three major bodies of work: More Than Human, Dogs Gods, and Equus. Through the related books and exhibitions, Flach has attracted international interest. His images have been acquired by major public and private collections.

Commissions by leading editorial and commercial clients have also garnered multiple awards, including three Cannes Lions. He has won the International Photography Award's Professional Photographer of the Year for fine art, and in 2013 was conferred with an Honorary Doctorate from Norwich University of the Arts, in recognition of his contribution to photography.
Selected Books on Available on Amazon
Tim Flach: Birds
Tim Flach: Birds
Tim Flach
Tim Flach: Evolution
Tim Flach: Evolution
Tim Flach
More Than Human
More Than Human
Lewis Blackwell, Tim Flach
Dogs
Dogs
Lewis Blackwell, Tim Flach

Agencies

Peter Bailey Production

Éléonore Charrey

Galleries

Osbourne Samuel Gallery

Opiom Gallery

Crane Kalman Brighton

Website

timflach.com

 

Tim Flach's Video

Selected Books

Tim Flach: Birds
Tim Flach: Birds
Tim Flach
Tim Flach: Evolution
Tim Flach: Evolution
Tim Flach
More Than Human
More Than Human
Lewis Blackwell, Tim Flach
Dogs
Dogs
Lewis Blackwell, Tim Flach

Inspiring Portfolios

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

Taralynn Disher
Taralynn Disher
Canada
I am not the collection of words you’re about to read, but rather a mere description of who I was that has led me to become who I am today and the person I will be tomorrow. Taralynn Disher is a Canadian-Native-born artist and creative turned professional photographer with a background in dentistry. Disher’s calling as a photographer began at the age of 16. During this time, her frustration with not finding reference images she would envision as part of her painting process, fuelled her to pursue photography to bring her visions to life.
Alon Goldsmith
Alon Goldsmith
South Africa/United States
1961
Dubbed “LA’s iPhoneography Wizard” by Forbes magazine, Alon Goldsmith is an award-winning photographer who has been featured extensively across media and exhibited in galleries around the globe. Alon’s achievements include overall winner of the MIRA Mobile Prize in 2022, 3rd place in the Los Angeles Center of Photography’s Street Photography Around the World Competition, winner of Santa Monica College’s Curriculum Cover Contest and runner up in the journalism category in the prestigious Mobile Photography Awards. Alon was a jury member for the 2018 and 2019 MPAs. His work has also been published in Street Photography Magazine, the Los Angeles Times, Reader's Digest, the Forward, the Argonaut and the App Whisperer, and has been extensively featured in Snap and Mobiography magazines. In 2020, Alon published In Place | Portraits of a Pandemic, a book documenting people isolating during lockdown. In 2025 he published 366 Days in the Life of an iPhone Wizard featuring a photo taken every day during 2024. ARTIST STATEMENT: I am a photographer and storyteller drawn to the intersections of people, place, and perception. My work explores how we inhabit the world together — how identity, environment, and chance encounters shape our shared experience of being alive. Whether photographing a stranger on a busy street or creating large-scale composite portraits, I seek to reveal the quiet connections that exist beneath the surface of ordinary life. Photography, for me, is an act of attention. It asks me to slow down, to notice, and to honor the presence of others. Much of my work begins in public space — sidewalks, markets, transit stops, festivals — places where humanity unfolds in its most spontaneous and diverse form. I am fascinated by how these encounters, however brief, can become profound when framed through care and curiosity. The camera becomes less a tool of documentation and more a bridge — a means of acknowledging another person’s existence. Over the years, my projects have consistently examined how art can restore connection in a fragmented world. During the pandemic, my series In Place | Portraits of a Pandemic became both archive and lifeline — documenting resilience and loneliness while reaffirming the human capacity for hope. That experience crystallized my belief that photography can serve as a form of care, a way of holding space for others. My current series, Going Places, continues this pursuit on a global scale. Each collage is built from dozens of environmental portraits taken within the same setting — city squares, beaches, villages — then woven together into a single composition. Some subjects engage directly with the camera; others remain absorbed in their own rhythm. The result is a visual chorus that speaks to the tension between individuality and belonging. In expanding this series across continents, I aim to create a planetary portrait — a reflection of how people live, adapt, and coexist within their ecological and cultural environments. Ultimately, I see my practice as a dialogue between seeing and being seen. The work invites viewers to slow their gaze, to recognize themselves in others, and to sense the invisible threads that bind us all. Photography, at its best, is an act of empathy — a quiet reminder that we are, each of us, part of something larger, fragile, and profoundly connected. AAP Magazine: AAP Magazine 52 Street
Morteza Nikoubazl
Morteza Nikoubazl
Iran
1974
I was born in Tehran, Iran in 1974 and studied art and photography there. I started work as a freelance photographer for Iranian daily and weekly newspapers. I began working with the Reuters team as Freelance photographer since 1999 till 2013. After Reuters I worked with the New York Times International magazine, Polaris Images, Zuma Press and SIPA PRESS photo agencies and now I am working with the NurPhoto press photo agency. I am also UNHCR trusted photographer in Iran. Sense of death amid the COVID-19 outbreak in Iran Today is about one year after Government announced officially the COVID-19 cases in Iran and death still is everywhere. I could see patients who were infected by the new coronavirus in COVID-19 wards of hospitals who were breathing and after two hours they were died. In fact, life seems gone, time were stoped and people were looking for an empty hospital bed for their relatives. Sense of death is covered the daily life of people who have to fight with a new invisible enemy, and it will be getting worse when a country is under International sanctions. I was in the city of Bam for covering the earthquake in 2002-2003 and could see a U.S. Military cargo airplane landed after about 25 years since the Victory of the Islamic Revolution in Iran and I could see how the humanity could pass over the politic, but today I am witness how politic cover the humanity, sanctions still work and it pushed Iran to the end of the line of vaccine. People die left and right also medical personnel, But they hear about barriers to the import of the COVID-19 vaccines from western countries. When it comes to people's health, politics should be the last priority of countries, but it seems the politic is the first priority for the U.S., Iran and the European countries. On the other hand, Iranians cannot trust the China- Made, or Russian-Made vaccine and prefer the Iranian one, but they must wait until next year and try to be alive.
Martine Franck
Martine Franck
Belgium
1938 | † 2012
Franck was born in Antwerp to the Belgian banker Louis Franck and his British wife, Evelyn. After her birth the family moved almost immediately to London. A year later, her father joined the British army, and the rest of the family were evacuated to the United States, spending the remainder of the Second World War on Long Island and in Arizona. Franck's father was an amateur art collector who often took his daughter to galleries and museums. Franck was in boarding school from the age of six onwards, and her mother sent her a postcard every day, frequently of paintings. Ms. Franck, attended Heathfield School, an all-girls boarding school close to Ascot in England, and studied the history of art from the age of 14. "I had a wonderful teacher who really galvanized me," she says. "In those days she took us on outings to London, which was the big excitement of the year for me." Franck studied art history at the University of Madrid and at the Ecole du Louvre in Paris. After struggling through her thesis (on French sculptor Henri Gaudier-Brzeska and the influence of cubism on sculpture), she said she realized she had no particular talent for writing, and turned to photography instead. In 1963, Franck's photography career started following trips to the Far East, having taken pictures with her cousin’s Leica camera. Returning to France in 1964, now possessing a camera of her own, Franck became an assistant to photographers Eliot Elisofon and Gjon Mili at Time-Life. By 1969 she was a busy freelance photographer for magazines such as Vogue, Life and Sports Illustrated, and the official photographer of the Théâtre du Soleil (a position she held for 48 years). From 1970 to 1971 she worked in Paris at the Agence Vu photo agency, and in 1972 she co-founded the Viva agency. In 1980, Franck joined the Magnum Photos cooperative agency as a "nominee", and in 1983 she became a full member. She was one of a very small number of women to be accepted into the agency. In 1983, she completed a project for the now-defunct French Ministry of Women's Rights and in 1985 she began collaborating with the non-profit International Federation of Little Brothers of the Poor. In 1993, she first traveled to the Irish island of Tory where she documented the tiny Gaelic community living there. She also traveled to Tibet and Nepal, and with the help of Marilyn Silverstone photographed the education system of the Tibetan Tulkus monks. In 2003 and 2004 she returned to Paris to document the work of theater director Robert Wilson who was staging La Fontaine's fables at the Comédie Française. Nine books of Franck's photographs have been published, and in 2005 Franck was made a chevalier of the French Légion d'Honneur. Franck continued working even after she was diagnosed with bone cancer in 2010. Her last exhibition was in October 2011 at the Maison Européenne de la Photographie. The exhibit consisted of 62 portraits of artists "coming from somewhere else" collected from 1965 through 2010. This same year, there were collections of portraits shown at New York's Howard Greenberg Gallery and at the Claude Bernard Gallery, Paris. Franck was well known for her documentary-style photographs of important cultural figures such as the painter Marc Chagall, philosopher Michel Foucault and poet Seamus Heaney, and of remote or marginalized communities such as Tibetan Buddhist monks, elderly French people, and isolated Gaelic speakers. Michael Pritchard, the Director-General of the Royal Photographic Society, observed: "Martine was able to work with her subjects and bring out their emotions and record their expressions on film, helping the viewer understand what she had seen in person. Her images were always empathetic with her subject." In 1976, Frank took one of her most iconic photos of bathers beside a pool in Le Brusc, Provence. By her account, she saw them from a distance and rushed to photograph the moment, all the while changing the roll of film in her camera. She quickly closed the lens just at the right moment, when happened to be most intense. She cited as influences the portraits of British photographer Julia Margaret Cameron, the work of American photojournalist Dorothea Lange and American documentary photographer Margaret Bourke-White. In 2010, she told The New York Times that photography "suits my curiosity about people and human situations." She worked outside the studio, using a 35 mm Leica camera, and preferring black and white film. The British Royal Photographic Society has described her work as "firmly rooted in the tradition of French humanist documentary photography." Source: Wikipedia Born in Belgium, Martine Franck (1938-2012) grew up in the United States and in England. She studied art history at the University of Madrid and at the École du Louvre in Paris. In 1963, she went to China, taking her cousin's Leica camera with her, and discovered the joys of documenting other cultures. Returning home via Hong Kong, Cambodia, India, Afghanistan and Turkey, and bought her first camera while on the trip. Returning to France, she worked as a photographic assistant at Time-Life where she developed her own technique. In 1966, Franck met Henri Cartier-Bresson, whose photographs epitomized Magnum's tradition of humanitarian photography. Franck was adamant that she would neither bask in his reflection nor disappear in his shadow and she joined the Vu agency in 1970. Her first solo exhibition was planned for the ICA in London that year; when she saw that the invitations were embossed with the information that her husband would be present at the launch, she cancelled the show. With Vu's demise, Franck co-founded the Viva agency in 1972. It also collapsed and it was not until 1980 that Franck joined Magnum, becoming a full member in 1983. She was one of the few women to be accepted into the agency and served as vice-president from 1998 to 2000. Eschewing the war/human tragedy reportage that characterized Magnum's reputation, Franck continued her projects on marginal or isolated lives throughout the rest of her life. Source: Howard Greenberg Gallery
Markus Kirchhofer
Markus Kirchhofer
Germany
Markus Kirchhofer is a photographer from Cologne/Germany, who focuses on portrait and documentary photography. After playing music for many years, he moved into photography as his main creative output. In a digital world, his workflow is deliberately analog. ''I choose analog photography for its patience and poetry. Film forces me to slow down and stay fully present with my subjects. Without distractions, I connect deeply with the environment to tell authentic human stories.'' All About Photo Competitions AAP Magazine 57 Portrait
Claudia Jaguaribe
Claudia Jaguaribe
Brazil
Claudia Jaguaribe was born in Rio de Janeiro, lives and works between São Paulo and Rio de Janeiro. She holds a degree in art history, fine arts and photography from Boston University, USA. Her work is focused on the urban landscape, environmental issues , and questions directed to the representation of the real as a conceptual register. By blending reality and subjectivity, it stimulates our perception of what we are seeing by creating layers of understanding and narrative. The materiality of her works questions the very nature of photography. She expands the traditional formats of photography by creating photo sculptures besides integrating and using video and internet in her installations. Since her beginning she was linked to editorial research. Many of her series find their final expression in book format. She has 15 books published and recognized by the singularity of the photographic integration and graphic design. In 2013 she co-founded the publishing company Editora Madalena. Her works are in several museums and collections in Brazil and abroad an such as Museum of Modern Art - São Paulo, Inhotim - Institute of Contemporary Art - Brumadinho, Instituto Moreira Salles - Rio de Janeiro, Victoria and Albert Museum, Maison Européene de la Photographie - Paris, Instituto Italo Latino Americano - Rome, Hangar art center among others.
Henry Peach Robinson
Henry Peach Robinson
United Kingdom
1830 | † 1901
Henry Peach Robinson was an English pictorialist photographer best known for his pioneering combination printing - joining multiple negatives or prints to form a single image; an early example of photomontage. He joined vigorously in contemporary debates in the photographic press and associations about the legitimacy of 'art photography' and in particular the combining of separate images into one. Robinson was the oldest of four children of John Robinson, a Ludlow schoolmaster, and his wife Eliza. He was educated at Horatio Russell's academy in Ludlow until he was thirteen, when he took a year's drawing tuition with Richard Penwarne before being apprenticed to a Ludlow bookseller and printer, Richard Jones. While continuing to study art, his initial career was in bookselling, in 1850 working for the Bromsgrove bookseller Benjamin Maund, then in 1851 for the London-based Whittaker & Co. In 1852 he exhibited an oil painting, On the Teme Near Ludlow, at the Royal Academy. That same year Robinson began taking photographs, and five years later, following a meeting with the photographer Hugh Welch Diamond, decided to devote himself to that medium, in 1855 opening a studio in Leamington Spa, selling portraits. In 1856, with Rejlander, he was a founding member of the Birmingham Photographic Society. In 1859 he married Selina Grieves, daughter of a Ludlow chemist, John Edward Grieves. His son, Ralph Winwood Robinson, was also a photographer. In 1864, at the age of 34, Robinson was forced to give up his studio due to ill-health from exposure to toxic photographic chemicals. Gernsheim (1962) has shown that thereafter he preferred the easier 'scissors and paste-pot' method of making his combination prints, rather than the more exacting darkroom method employed by Rejlander. Relocating to London, Robinson kept up his involvement with the theoretical side of photography, writing the influential essay Pictorial Effect in Photography (1869), Being Hints on Composition and Chiaroscuro for Photographers, published in 1868. Around this time his health had improved sufficiently to open a new studio in Tunbridge Wells with Nelson King Cherrill, and in 1870 he became vice-president of the Royal Photographic Society. He advocated strongly for photography to be regarded as an art form. The partnership with Cherrill dissolved in 1875, Robinson continuing the business until his retirement in 1888. His son, Ralph Winwood Robinson, took over the studio business. Following internal disputes within the Photographic Society, he resigned in 1891 to become one of the early members of the rival Linked Ring society, in which he was active until 1897, when he was also elected an honorary member of the Royal Photographic Society. Robinson was an early supporter of the Photographic Convention of the United Kingdom and took part in this institution's long running debates about photography as an art form. He was invited to serve as the President of the PCUK in 1891 but, as he described later, "I felt compelled to decline, knowing that I could not carry out the duties as they should be carried out, having a defect of voice which would not allow me to read my own address." He was subsequently persuaded to serve as President in 1896, when his presidential speeches were read out by a colleague. He died aged 70 and was buried in Tunbridge Wells in early 1901. Henry Peach Robinson was one of the most prominent art photographers of his day. His third and the most famous composite picture, Fading Away (1858) was both popular and fashionably morbid. He was a follower of the pre-Raphaelites and was influenced by the aesthetic views of John Ruskin. In his Pre-Raphaelite phase he attempted to realize moments of timeless significance in a "mediaeval" setting, anticipating the work of Julia Margaret Cameron, Burne-Jones and the Symbolists. According to his letters, he was influenced by the paintings of J.M.W. Turner. He defended composite photography, asserting that the creation of combination photographs were as demanding of the photographer as paintings were of the artist. Robinson compared the making of Fading Away with Zeuxis' legendary combining of the best features of five young ladies from Crotona to produce his picture of Helena.Source: Wikipedia To produce Fading Away, this intimate narrative of family tragedy, Robinson seamlessly combined five separate negatives. The scene centers on a bedridden young woman dying of tuberculosis—or possibly of a broken heart, as suggested by the Shakespearean title of a preliminary study, She Never Told Her Love. The picture was notorious both for the “artificiality” of its technique and for its subject matter, which was considered too morbid and painfully intimate to be represented photographically. Robinson’s seamless blending of reality and artifice did, however, appeal to Prince Albert, the husband of Queen Victoria, who purchased a print of Fading Away and issued a standing order for every major composite photograph Robinson would make.Source: Metropolitan Museum of Art
Stanley Greene
Stanley Greene
United States
1949 | † 2017
During the early years of his career, Stanley Greene (USA, 1949-2017) produced The Western Front, a unique documentation of the San Francisco’s punk scene in the 1970s and 80s. An encounter with W. Eugene Smith turned his energies to photojournalism. Stanley began photographing for magazines, and worked as temporary staff photographer for the New York Newsday. In 1986, he moved to Paris and began covering events across the globe. By chance, he was on hand to record the fall of the Berlin Wall. The changing political winds in Eastern Europe and Russia brought Greene to a different kind of photojournalism. He soon found himself photographing the myriad aspects of the decline of communism and the break-up of the Soviet Union. Stanley was a member of the Paris-based photo agency Agence VU from 1991 to 2007. Beginning in 1993, he was based in Moscow working for Liberation, Paris Match, Time, The New York Times Magazine, Newsweek, Le Nouvel Observateur, as well as other international news magazines. In October 1993, Stanley was trapped and almost killed in the White House in Moscow during a coup attempt against Boris Yeltsin. He was the only western journalist inside to cover it. Two of his resulting pictures won World Press Photo awards. In the early 1990s, Stanley went to Southern Sudan to document the war and famine there for Globe Hebdo (France). He traveled to Bhopal, India, again for Globe Hebdo, to report on the aftermath of the Union Carbide gas poisoning. From 1994 to 2001, Stanley covered the conflict in Chechnya between rebels and Russian armed forces. His in-depth coverage was published in the monograph Open Wound: Chechnya 1994-2003 (Trolley 2003) and in the 1995 publication Dans Les Montagnes Où Vivent Les Aigles (Actes Sud). The work also appeared in Anna Politkovskaya’s book, A Dirty War: A Russian Reporter in Chechnya (2001). In 1994, Stanley was invited by Médecins sans Frontières to document their emergency relief operations during the cholera epidemic in Rwanda and Zaire. He has covered conflict and aftermath in Nagorno-Karabakh, Iraq, Sudan, Darfur, Afghanistan, Kashmir, and Lebanon. Stanley was awarded a Katrina Media Fellowship from the Open Society Institute in 2006. In 2010, to mark the fifth commemoration of Hurricane Katrina - together with Dutch photographer Kadir van Lohuizen - Stanley made “Those who fell through the cracks”, a collaborative project documenting Katrina's effects on Gulf coast residents. The same year, Stanley’s book Black Passport was published (Schilt). In 2012, Stanley was the guest of honor of Tbilisi Photo Festival and began his project on e-waste traveling to Nigeria, India, China and Pakistan. Stanley has received numerous grants and recognitions including - the Lifetime Achievement Visa d’Or Award (2016), the Aftermath Project Grant (2013), the Prix International Planète Albert Kahn (2011), W. Eugene Smith Award (2004), the Alicia Patterson Fellowship (1998) and five World Press Photo awards. Stanley presented the Sem Presser keynote lecture at the 2017 World Press Photo Award Festival. Stanley Greene is a founding member of NOOR. Stanley passed away in Paris, France on May 19th, 2017. Source: NOOR Greene was born to middle class parents in Brooklyn. Both his parents were actors. His father, who was born in Harlem, was a union organizer, one of the first African Americans elected as an officer in the Screen Actors Guild, and belonged to the Harlem Renaissance movement. Greene's father was blacklisted as a Communist in the 1950s and forced to take uncredited parts in movies. Greene's parents gave him his first camera when he was eleven years old. Greene began his art career as a painter, but started taking photos as a means of cataloging material for his paintings. In 1971, when Greene was a member of the anti-war movement and the Black Panthers, his friend, photographer W. Eugene Smith offered him space in his studio and encouraged him to study photography at the School of Visual Arts in New York and the San Francisco Art Institute. Greene held various jobs as a photographer, including taking pictures of rock bands and working at Newsday. In 1986, he shot fashion in Paris. He called himself a "dilettante, sitting in cafes, taking pictures of girls and doing heroin". After a friend died of AIDS, Greene kicked his drug habit and began to seriously pursue a photography career. He began photojournalism in 1989, when his image ("Kisses to All, Berlin Wall") of a tutu-clad girl with a champagne bottle became a symbol of the fall of the Berlin Wall. While working for the Paris-based photo agency Agence Vu in October 1993, Greene was trapped and almost killed in the White House in Moscow during a coup attempt against President Boris Yeltsin. He has covered the war-torn countries Azerbaijan, Georgia, Iraq, Somalia, Croatia, Kashmir, and Lebanon. He has taken pictures of the genocide in Rwanda in 1994 and the US Gulf Coast in the aftermath of Hurricane Katrina in 2005. Since 1994, Greene is best known for his documentation of the conflict in Chechnya, between rebels and the Russian armed forces, which was compiled in his 2004 book, Open Wound. These photos have drawn attention to the "suffering that has marked the latest surge in Chechnya's centuries-long struggle for independence from Russia". In 2008, Greene revealed that he had hepatitis C, which he believed he had contracted from a contaminated razor while working in Chad in 2007. After controlling the disease with medication, he traveled to Afghanistan and shot a story about "the crisis of drug abuse and infectious disease". Greene has lived and worked in Paris since 1986. He said: "My wife has left me but instead of becoming an alcoholic, I would go and shoot war." Source: Wikipedia Wars and Victims February 18, 2008 "It remains essential for journalists to scour the ground, unimpeded, using the only weapons we know. Our cameras, notebooks and voices make us the unwelcome pests of aggressors around the world. Witnesses are inconvenient. Yet as most of my colleagues will agree, countries such as Irak, Chad, The Caucasus, and Chechnya, are becoming harder to cover. In the world of spot news, publications don't want to pay for long engagements in complicated zones because its getting much harder to afford it. Authorities block access. And the lack of access, infrastructure and personal security makes logistics a nightmare. Despite the odds, sometimes the effort can make a difference, and those rare moments never cease to satisfy in a profession that is otherwise lonely, demanding and thankless. Journalism rewards you with long days and even longer nights. There is no such thing as taking pictures from a place of safety, and you often pack your feelings in a suitcase until you can return to ‘reality.’ Some colleagues living in this perpetual emotional yo-yo are able to maintain a relationship, money in the bank, and perhaps even their sanity. If you're like the rest of us not born under that star, you never stop trying to find it. For the last fifteen years I have bore witness to long histories of invasions, mass migrations, conflicts, wars and destructions. This group of images is to provide a body of work that is about war and victims but also, it's about photojournalism and the importance of those photo-correspondents that are passionate about shining the light in dark places. The resultant series of black and white and color photographs are more than a mere documentation of the darkness which exists in the world. Journalists today are like disaster tourists going from one hot place to the next. It has never been my intention to be such a photographer. I think it is better to build a full body of work which demonstrates the longevity of a working photojournalist, today and yesterday. I think that this should be taken into consideration when looking at this work. It is a fragment, taken from longer and larger photo-essays." -- Stanley Greene (Sometimes We Need Tragedies) Source: fragments.nl
Sasha Maslov
Sasha Maslov
Ukraine
1984
Sasha Maslov was born in Ukraine in 1984. Inspired and taught by his father, photographer Guennadi Maslov, and later his teacher and mentor, Oleg Shishkov, he developed into an aspiring young photographer. Later Sasha became known for his social documentary projects around Eastern Europe, especially in his native country. He started pursuing career as a portrait photographer in New York city, where he moved at the age of 24 in 2008. Since then he has been working for leading publications around the Globe and pursuing work on his personal projects. Statement "I believe in the efficacy of photography as a visual art medium. We are living in age where visual stimuli in a variety of mediums populate the waking moments of our lives. Our memories are inhabited by fragments of life – experiences from around the globe, products, familiar faces – all intricately tied together in a complex web of associations. This visual overload has polluted our minds, made our tastes less discerning, and ultimately devalued the standards that qualify impactful and meaningful photography. Instead of reveling in a complex photo that enjoys intense visual engagement and reflection, viewers now expect to devour and digest imagery in one gulp. While I do believe that evolving for adaptation is vital, however, it is also important to me that every image I take embodies a sense of purpose and meaning, provokes thought and sparks dialogue."
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Exclusive Interview with Jan Janssen
Dutch photographer Jan Janssen explores universal human experiences through his long-term project It Matters, winner of the May 2025 Solo Exhibition. Begun in 2016, the series captures intimate moments of everyday life—love, loss, connection, and belonging—across Central and Eastern Europe. Working in countries such as Turkey, Azerbaijan, and Armenia, Janssen spends extended time within communities, building relationships based on trust and respect. His approach allows him to move beyond observation, revealing deeply human and authentic moments. Rooted in travel and personal discovery, It Matters reflects Janssen’s search for what connects us all in an increasingly divided world. The project is ongoing and will culminate in a photobook scheduled for publication in 2026.
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Exclusive Interview with Henk Kosche
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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