I am a restless traveler, who keeps on leaving, but never arrives.I have been taking pictures of interiors since 2002. In the beginning I worked in worn out, rejected buildings, later I concentrated on private homes.
Interiors tell stories about people. In public space people follow the global trends and fashions. In their homes they tend to make other choices. The private space is the only place where we are ourselves.The personal story is told inside the privacy of our home.I never travel along a pre-fixed route. My trips are guided by intuition and by experiences along the way. Roads that attract me, people I meet and stories I hear. The doors I choose to knock on rarely hold a clue about what I may find inside.
I never visualize anything beforehand and my pictures reflect my first impressions.
The image comes alive in the existing light.Many of my interiors give evidence of a frugal life, of inhabitants who are able to make their personalities known with only a few means. In my work I concentrate on this authenticity and dignity.
My pictures tell a story about these people, a story that reaches beyond material reality.Everything visible in the picture was there. I never change anything. I only use the available light. I use colour negative film and print both analog and digital. During this process no drastic changes are made either.
— Maarigje de Maar took part in the 2009 Rhubarb-Rhubarb International Photographic Review.
Photographercreates highly detailed large-scale views of high-rise structures that are homes to millions in modern Hong Kong.
and JH Engström were both born in the same remote province in Sweden, but generations apart. Together they revisited Värmland, and documented their experiences with two distinct photographic styles.
Marc Feustel writes a review of this great book.
Why should names be passed down from our fathers, why should the oldest (boy) always inherit the family's wealth? For an indigenous people in northeastern India, girls are of preeminent importance and all the "usual" societal conventions are turned on their head.
After almost four decades of obscurity, a unique collection from the erotica of the Dutch photographer