Taking portraits of my family and friends was the first step in my photography. I haven’t stopped ever since.


WHY I LOVE IT, by Aurélie

I’ve known Kourosh Sotoodeh for a few years and always admired his work. It has been interesting to witness his recent move toward more personal series.

I especially love his new work, “Surf” which he shot while living in Los Angeles. The images speak of happy summer days and bring back the views, smells and sounds of crashing waves. Some of the photographs appear even abstract in nature as they show us the sea from high above, a viewpoint we rarely get. The water’s patterns and ever-changing colors unroll before us – there’s a mysterious world under them, one filled with dangerous currents and strange creatures.

Surfers experience elusive moments of beauty where humans and nature become one. The dance that exists between them and the waves is a testament to the potential for exhilarating experiences that exist around us.


Kourosh Sotoodeh is a Photographer and Director who lives and works in Los Angeles and New York City. Originally from Iran, he studied Industrial Design and Cinema before focusing on photography.

He shoots for several well-known commercial clients and prestigious fashion magazines, among them Vogue, Harper’s Bazaar, and Elle

His education in art and design shapes his approach to his subjects. Both his photography and video work capture beautiful moments using a strong and minimalist aesthetic.

Portrait of Kourosh Sotoodeh on set



“A Story To Tell”


I love to explore different cultures and meet new people – not to mention art, design and flea markets. I am always drawn to faces and objects that tell a story. In fact, anywhere and anything that has a deep sense of time and place.

I used to work mainly with film and a Hasselblad camera; analogue photography taught me to take time. The process was unhurried, which suited my life philosophy and art perfectly. Even now in the digital world of photography, I’ve kept this approach, seeking that precise shot, as opposed to firing off a thousand and leaving it to good fortune.

Thanks to this “Less is more” philosophy, I am able to get the depth and richness that I’m looking for, my photographs made atmospheric by differing textures and shadows.

WHY I LOVE IT, by Aurélie

I share Joanna’s love for places and objects that tell a story. I love history and the remnants it leaves behind – old castles or churches; abandoned buildings that were once thriving hubs of activities; objects long-gone people used to cherish and enjoy.

Joanna’s photographs are a window into the past. They celebrate patina and weathered texture. They are a reminder of the passage of time and that everything is fleeting. There’s nostalgia in her work, an ache for a time that is long gone, a time when we had time and quiet and slow were the norms. Her images remind us to stop and pause. By connecting us to the past, they offer us a respite from the present.

Joanna’s photographs act like a quiet meditation and help us see the beauty around us.




Joanna Maclennan has been a professional photographer for the past 17 years.

Having grown up in England, she moved to France in her early thirties and never looked back. She is based in Provence, where she lives with her husband and their daughter. They have recently built their own home and studio in the village of Eygalières.

Joanna works for a variety of international magazines and newspapers – World of InteriorsHouse & GardenThe New York Times – as well as publishers such as Thames & Hudson and Gestalten. Clients include Magnolia Pearl, Christies UK, Jamb London and David Price Design.

She published her first book, “The Foraged Home” in April 2019 which was printed in 4 languages. Presenting the techniques and philosophies of a wide spectrum of experienced foraging homeowners, this book showcases unexpected and inspiring interiors from all over the world, from an upturned boat in France to an Australian beach house.

Joanna has a new book, “Living Wild” which explores the lifestyles of families and individuals who left the daily city grind to create a new life in harmony with nature.

Portrait of Joanna Maclennan wearing a top hat
STEVEN LOPEZ: Analogue Dreams

STEVEN LOPEZ: Analogue Dreams


“Analogue Dreams”


My work simultaneously glimpses into the past, present and future.

By using film photography, alternative and traditional photographic printing methods, I aim to achieve a feeling of timelessness in my images.

My methods and choice of subject matter are a practice in sharpening the focus on what makes its home in my peripheral vision.


WHY I LOVE IT, by Aurélie

I met Steven Lopez when he interned at Resource Magazine, a photo magazine I had started with a friend. I was struck by his love and knowledge of film photography and antiquated techniques. No cell phone photography for him! He chose hard-to-find film and hours spent in the darkroom instead.

We stayed in touch over the years. We lived in the same neighborhood, the Lower East Side in downtown Manhattan, and would get together for coffee every once in a while. He would tell me about his travels and photographic experiments.

I love his dedication to film photography and his focus on old techniques. His images are carefully constructed; he puts a lot of time and care into them. You don’t get a gazillion frames of the same landscape – there is only a handful at best. Film is in limited supply and printing is time-consuming so Steven thinks long and hard before pressing that shutter.

The resulting images are beautiful and unique, timeless and moving, arching back to a time when we had time.



Steven Lopez is a multimedia photographer based in NYC with a focus on alternative photographic processes and film photography.

He studied at LaGuardia College in commercial photography and applied science. He currently independently teaches alternative photographic printing in his residence in Astoria, Queens, NY.

Portrait of Steven Lopez



“Le Réinventé” (The Reinvented)


The journey of my art springs from the desire to experience what lies beneath the surface of images and to engage a wide range of emotions. In particular, my intention overall is to create interesting, visual narrative experiences utilizing a cinematic approach, like stills from film noir movies. I also like to capture the magic that light and shadow communicate.

Another thread that runs through my photos includes psychological, emotional, and even spiritual expressions; at times encompassing the Past, the Present and the Future.

My art is inspired by the exploration of going beyond the literal representation of a scene or subject. In that regard, most times I implement multiple layers, which include a vintage, overlay to produce ethereal imagery.

I invite the viewer “To truly see, instead of merely looking.”


WHY I LOVE IT, by Aurélie

When a friend of mine showed me Sinden Collier’s work, I was immediately hooked. Her images were poetic and dreamy, with a tactile quality we rarely get to see in photography. It arched back to the early days of the medium, when film was used and effects were added in the darkroom.

I love the title she chose for the show, “Le Réinventé” (The Reinvented). It perfectly fits her work, how she reinvents her images. She first experimented with film and darkroom techniques to create her multi-layered images; she now uses digital manipulations. The tools may have changed, but her artistic intent has not – her vision remains throughout. The world she creates is both romantic and nostalgic, with a bit of surrealism thrown in.



Sinden Collier became a photographer after a successful career as a singer, songwriter and musician. Recording under the Motown label gave her the opportunity to see the world.

She was always interested in photography and learned it on her own. Her unique and at time surrealist viewpoint quickly garnered her recognition and support.

Working at first with film and experimenting in the dark room, she now uses digital manipulation to create beautiful and poetic dreamscapes.

In 2001, she became the first Black female photographer to be signed by Getty Images.

In 2017, her book “Trains of Thought – Welcome Aboard” received an honorable mention in Elizabeth Avedon’s “2017 Best Photography Books.” In it, her fine art images accompany aphorisms written by her twin sister, Rhett Collier.

Her work has appeared in magazines and advertising campaigns, and received numerous awards, including “YourDailyPhotograph.com Hot 100 Photographers of 2021.”

Sinden often contributes her talent to the youth community to strengthen their self-esteem and better prepare them for the world.

Portrait of photographer Sinden Collier






I have always been fascinated by skyscrapers. Growing up in New York, I would look at them and wonder and marvel at the size and personality of each building. My cityscape photography came from these early days.

Before I became a photographer, I worked as an electrician, which gave me a whole new appreciation and understanding of what it takes to build and maintain these buildings!

Now with my camera in hand, I love looking at them and seeing how the light hits them. Day or night, there’s always a play of light and shadows on them. Looking at the same building but on different days or at different times gives me a new look and a different perspective, creating a deeper connection with my subjects.

I chose to shoot this cityscape series in Black and White because it is timeless and goes to the essence of what’s in front of you. We are often too busy to enjoy the beauty around us. Slowing down in a fast-paced city like New York, I give people a chance to marvel as I do every time I walk down a street.


WHY I LOVE IT, by Aurélie

When Edwin showed me his cityscape photography series, I was blown away. I knew him as a lifestyle and sports photographer, someone with high energy and always on the move. This work was the opposite of everything I had seen him do before!

No people, just the graphic lines of New York’s buildings. No action, just the endless play between light and shadows.

I love how strong and powerful the images are. You can sense the scale of the building – how big and tall they are. There’s hardly any curve; it’s all sharp lines, straight angles and geometric repetition. The choice of using black and white only accentuates the strength of the image as it removes any detail that could have distracted us from the imposing beauty of these buildings.



A Bronx, NY, native, Edwin Jimenez was a highly athletic and creative child growing up. He played music and sport and trained to be a professional baseball player. An unfortunate injury in the field had him refocus his energy on music and photography. He played in a couple of bands and started shooting live concerts.

One thing led to another and he moved into sport, lifestyle and portrait photography, shooting for clients such as the Weather Channel, Adidas, Oxygen Network, VH1, or Sony Music.

When he’s not traveling for jobs, he coaches baseball to kids and teens and pursues personal photographic projects, like this cityscape photography series presented here, which celebrates New York architecture in all its diversity and imposing beauty.


Portrait of Edwin Jimenez




“From Above”


In the most basic terms, I click a button to capture a split second in time, especially during aerial photography trips.

In a more complex way, I am a highly detail-oriented and technical photographer with a fanatical approach to composition, color, execution and technique.

One of my favorite forms of photography is aerial photography as the environment is constantly changing. It is incredibly liberating to be in a plane or helicopter with the doors off, corkscrewing around your subject with all the G-forces and blood rushing to your head. You have to adapt quickly to changing conditions and become reactive to your settings and compositions.

These aerial images showcase the beauty of the world we live in, with strong colors and abstract lines. Shot on a Phase One camera, the world’s most expensive camera system, and on the highest pixel count available (151 megapixels), these images are best shown on large-scale prints to showcase the incredible details that were captured.


WHY I LOVE IT, by Aurélie

I love aerial photography’s abstract nature. At first glance (and even at the tenth one), you’re not sure what you’re looking at. It’s hard to decipher a landscape in these strange lines and surrealist (yet true) colors.

Coming closer you sometimes notice small details – a power line, a house – which give you a clue to what you’re looking at. But too often there’s nothing to cling to: most of the images remain mysterious, defying conventions and expectations of what a landscape should look like.

These photographs are striking, with an incredible level of detail. Some are also unsettling as they show the devastating effect pollution has on our environment. Human activity created these strange lines and surrealist colors…

Andrei’s aerial photography shows us beauty in unexpected places.



Romanian Born + British Educated + Ex-Professional Tennis Player + 12 Years in Investment Banking + 85 Countries Traveled + Los Angeles Based

When not on a client shoot, Andrei Duman can be found in his studio working on multiple projects, all in different stages of production and experimentation. Creatively envisioning concepts for a shoot and problem-solving real-time issues to successfully achieve his vision are some of his favorite things to do.

Andrei lives in Los Angeles with his wife Susan and their 2 cats, Foo and Smash. He is a Field Instructor and Ambassador for Phase One Cameras, SanDisk Professional, Broncolor US, Eizo Monitors and f-stop for which he hosts their webinars, “Knowledge Labs.”



1st Place: Advertising Product (iWatch 6 Conceptual)

2nd Place: Automotive (McLaren P1 GTR)

2nd Place: Macro (ExoSkeleton)

Honorable Mentions in following categories: Advertising Product – Advertising Food & Beverage – Automotive – Nature/Landscape


Honorable Mentions in following categories: Architecture – Fine Art Portrait – Aerial – Macro

Portrait of Andrei Duman





Taking portraits of my family and friends was the first step in my photography. I haven’t stopped ever since.


WHY I LOVE IT, by Aurélie

I’ve known Kourosh Sotoodeh for a few years and always admired his work. It has been interesting to witness his recent move toward more personal series.

I’ve always been a firm believer that it’s important for photographers to work on personal projects throughout their careers. If you’re only shooting for jobs (even editorial ones), you’re never free – there are always expectations and requests you need to worry about. Personal projects allow you to truly express yourself. Which can be daunting for some. It’s the fear of the white page for a writer!

I titled his exhibit “Moments” as the images presented here are a mix of past and present works, editorial images and personal projects. They are all very different – from hyper glamourous beauty shots to views of a starry sky, but they all spoke to me.



Kourosh Sotoodeh is a Photographer and Director who lives and works in Los Angeles and New York City. Originally from Iran, he studied Industrial Design and Cinema before focusing on photography.

He shoots for several well-known commercial clients and prestigious fashion magazines, among them Vogue, Harper’s Bazaar, and Elle

His education in art and design shapes his approach to his subjects. Both his photography and video work capture beautiful moments using a strong and minimalist aesthetic.

Portrait of Kourosh Sotoodeh on set


KIRITIN BEYER: Reappropriation



ARTIST’S STATEMENT, by Kiritin Beyer

“Reappropriation” is the continuation of an earlier conceptual photography series I did in 2010 on the Salvation Islands in French Guiana. Between 1852 and 1953, the islands were part of a notorious penal colony for the worst criminals in France. Ruins are now all that is left of it. While the landscape was stunning, I felt the weight of what once existed. I also saw how nature had cleansed the past.

In 2012, I worked with my partner, Parris Jaru, to create “Reappropriation.” As a painter, he often uses natural elements in his practice and his Jamaican and American-Indian origins shape his creative process.

We drew inspiration from my time in Guiana and from Parris’ heritage. “Reappropriation” explores the constant battle between man-made structures, artificial landscapes and consumption – the battle between ownership and preservation, short-term use and long-term benefice. We aim to show through photographs the relationship between these conflicting forces and the effect one has on the others.

In traditional societies, masks and costumes are both a representation of the spirits and a way to connect with them. The transformation of the mask wearer into a spiritual entity requires rituals, such as specific music and dances, which we echoed in how Parris moved in the space.

In contrast to the natural and spiritual world, we chose as location former striving industrial complex, now abandoned and forgotten.


WHY I LOVE IT, by Aurélie

“Reappropriation” is an apt title for this conceptual photography series. Abandoned spaces are reappropriated and turned into private playgrounds, while ancient customs from Africa and the Caribbean are reinvented.

The photographs are a collaborative effort between Kiritin Beyer, a French & Dutch photographer, and Parris Jaru, a Jamaica-born painter. The creative pair (and couple in real life) worked together to find desolate locations, source masks, create costumes and research movements and poses to reenact.

The resulting images are striking and filled with unanswered questions. A mysterious character inhabits a no-man’s land of empty buildings that have been reclaimed by nature. He changes appearances and his face is always hidden by a mask. We know nothing of him or where he is; he simply stands before us, caught in the middle of rituals and dances he alone knows the meaning of.

I love art that makes you wonder and takes you on a journey.



KIRITIN BEYER: Kiritin Beyer was born in Copenhagen to a French mother and a Danish father. After spending some of her childhood in the French Pyrénées mountains, she moved to Paris to join the National Circus School. There she was exposed to the plasticity of the human body, an experience that later influenced her work.

The five years Kiritin spent in Paris working as a model ultimately convinced her that she enjoyed being behind the lens rather than in front of it. She came to New York to pursue photography in 2004 and began assisting fashion photographers. She made her way up working as a gaffer and a camera operator on film sets. Kiritin got to work with some of the biggest names in entertainment like Beyonce & Jay Z, Alicia Keys, Metallica or Lady Gaga.

Portraits of Kiritin Beyer and Parris Jaru

In 2012, she won a Film fellowship from BRIC (a Brooklyn-based art foundation). Later that year Kiritin traveled to East Africa with artist Parris Jaru to film “Imagination is Creation.” The short film was nominated in the Arts Category at the Emmy Awards. When she went to India to document natural colors and pigments used in textiles, arts and Ayurveda practice, the resulting film, “A Trail of Pigment,” received the B Free Award in the “Artistic and Health categories” from BRIC.

In 2016, Kiritin created a short film based on Parris Jaru’s paintings for the musical band Les Nubians. The video was projected during some of their performances in the US. Kiritin also directed their music video, Liberation. Since then, she directed and edited numerous videos, including Steel Lovin’ by Red Sahara, and is in pre-production for the artist Oddisee.

Kiritin Beyer also works as a photographer and videographer for interior magazines and designers in New York.

PARRIS JARU: Growing up in the Caribbean, Parris Jaru began creating art using natural elements at an early age. Carving wood from fallen trees to make masks, flutes and drums was his earliest creative experimentation.

Arriving in New York in the mid-eighties, he was entranced by the art scene and began to paint. While working at Marvel Comics he met some of the pioneers of comic art, which influenced his work. To gain exposure, Parris began selling his paintings on the streets of Soho and the East Village, which had vibrant art communities then. He befriended and collaborated with some of the most talented painters of the underground art scene at the time.

Parris now resides in Brooklyn, NY, and displays and sells his paintings at art fairs in New York, Miami and abroad. He also works on commissioned artworks in collaboration with the Arco Gallery in Soho.

Parris states: “The more I give to artistic expression the more it has given me. Painting and poetry have become my instrument of survival as well as my greatest love in this life. When I show my works my only expectation is to speak to those who have a desire to hear my words outside of normal conversation. Then my job for the moment is done.”





While in my teens, I was given tickets to hear Thelonious Monk and Art Blakey at Carnegie Hall in New York; that evening changed my life forever. I was transfixed by what I heard. I did not understand what was going on, but what I did know was that it was very special and profound. I knew I was in the presence of great human artistry and emotion, and I decided to explore jazz further. After college, I became a mountaineer and skier. I photographed the peaks of the American West, South America and the former Soviet Union. I later moved back to New York City with the intention to photograph the music world, primarily documenting the jazz scene. Within months I met the great drummer Art Taylor at Birdland. We became friends and he introduced me to other musicians. Blue Note Records saw my work and major jazz magazines approached me to photograph covers for them. I was off and running and never stopped! I have been fortunate to have had a wide range of unique experiences in intimate and private situations, whether photographing Sonny Rollins near the Williamsburg Bridge, or spending time with Keith Jarrett in his home. These portraits were made similar to the way musicians make music in a recording studio, in a “Closed Session.” In 2008 I started to make “Live” recordings. As in photography, I want the music to be captured in spontaneous, unrepeatable situations and, as in photography, I seek the inspired magic of the moment. I started Giant Steps Arts in 2018, a non-profit organization to help jazz musicians complete musical projects without artistic compromise or commercial constraints, and with the artists owning the master tapes. It’s my way to give back to the community. I hope that my photographs reflect the intensity of urban life in New York City. The powerful energy, the excitement, the syncopation of the traffic, the rush of the subway train, random sirens, a cacophony of random sound… New York City has always been my canvas.  
WHY I LOVE IT, by Aurélie
Jimmy Katz has led an extraordinary life, from being one of the first professional ski mountaineers in the 1970s to becoming the most celebrated jazz photographer ever. As NPR stated, “How you know you’ve made it in jazz: you get your photo taken by Jimmy Katz!” His love for the music is contagious. It transpires through his photographs. I love his enthusiasm for his subjects, how much he knows them, how plugged in the jazz community he is. All this gives an extra depth to his portraits. Jimmy spends time with the musicians, not only as a photographer but also in recent years as a music recorder and engineer. He sits next to them while they play, works alongside them to record improvised moments of musical brilliance. Jimmy approaches photography like a jazz musician approaches music. There’s a plan, yes, but there’s always room for last-minute changes and for magic. He brings all his gear to the set and chooses on the spot the ones that work the best for that moment. Like in jazz, things are calculated AND free – a perilous exercise many fail, but one Jimmy excels in.  

Jimmy Katz was born in New York City in 1957 and studied photography with John McKee at Bowdoin College. Over the last 30 years, Katz worked on over 580 recording projects, over 200 magazine covers and hundreds of editorial pieces – more than any modern photographer documenting jazz. To better promote the art form, Katz has recently been using an integrated approach in his work, combining still photography, video and high-quality audio.

In 2018, at friends’ urging, Katz founded Giant Step Arts, a non-profit organization that documents some of the most important jazz musicians of this era. Katz engineers projects and does photography and design with his wife Dena. The musicians have ownership of the masters and are able to sell their music.

Portrait of Jimmy Katz

Katz received the Award for Excellence in Photography by the Association of Jazz Journalists Association in 2006 and 2011. He has worked with numerous historical figures in jazz, including Ray Charles, BB King, Quincy Jones, Herbie Hancock, Sonny Rollins, Keith Jarrett, Ornette Coleman, Chris Potter, Herbie Hancock, Wynton Marsalis, Dizzy Gillespie, Tony Bennett and Tito Puente. Katz has engineered more than 30 CDs and has recorded artists such as David S. Ware, Mark Turner, Chris Potter, Jason Palmer, Eric Alexander, Miles Okazaki, Linda May Han Oh, Johnathan Blake, Ari Hoenig, Lage Lund & Frank Kimbrough.


Islip Museum, Islip, NY: 2007 “Salt Dreams” Exhibit

Jewish Museum in Berlin, Germany: 2009 Exhibit and in their permanent collection

Houston Museum of Fine Arts, Houston, TX: 2010 “Salt Dreams” Exhibit and in their permanent collection

Dutch Photo Museum: in their permanent collection


North Sea Jazz Festival: Rotterdam, Netherlands (2014)

Padua Jazz Festival: Padua, Italy (2014)

Galleria Nazionale dell’Umbria: Perugia, Italy (2019)

Museo della Fotografia Sestini: Fondazione Teatro Donizetti Di Bergamo, Italy (2022)






For as long as I can remember I have had an urge to capture a situation, a movement, a beautiful light, an expression, a moment. My early ideals of beauty were shaped by paintings throughout art history, movies, and fashion magazines photographs. Those images were mythical, heroic, beautiful and powerful. Strong female icons through time have been my muses, and this has followed me throughout my career as a photographer. 

I happened upon fashion photography as an aspiring photographer in New York in the late 1990s. It allowed me not only to capture an image but also to explore dreams and fantasies. Working with other creative talents, I could realize ideas that I had in my head. 

My photographic style is feminine; the women I portray are sensual and timeless. I try to find both their strength and their fragility. It’s that duality that inspires and drives my vision. I think of my photography as a form of visual escapism – small vignettes and narrative excerpts, where the dynamic lies in capturing the moments ‘in-between’. 

Photography has been my vehicle, one I have driven, one that has driven me, for a quarter-century. Its unique ability to steal time affords me the clement role of the narrator. Through the stories I tell, I’m able to move between past, present and future. 

WHY I LOVE IT, by Aurélie

I don’t remember how or when I met Helena Palazzi, but I’ll always remember how genuine and friendly she was. When you think of the fashion world, I wouldn’t say “genuine” and “friendly” are the first adjectives that come to mind! And yet, there she was, radiating warmth and empathy.

When she told me she was half Swedish half Italian, I wasn’t surprised. She is the perfect mix of Scandinavian rigor and Southern joie de vivre. And besides loving her as a person, I love her work! I love that her models are elegant and strong. No waif here! These women are self-confident and in full power of their seduction.

Her images are timeless. The clothes might be right off the runway or from 10 years ago, it doesn’t matter: they are not the focus – the woman is. Helena photographs as only a woman can do: her women are never objectified, they are celebrated. I feel the fashion world and world at large need more beautiful and empowering images of women.



A transplant from Sweden now living in the Hudson Valley, Helena Palazzi began her journey into photography as a teen. Growing up in the 1980s, she carried around a secondhand film camera and spent hours in a hand-me-down black and white darkroom set up in her family garage.

In 1993 her journey took her to her father’s homeland, Italy. With other young photographers, she founded a studio and enrolled at the Academy of Fine Arts in Perugia, Umbria. Less than two years later, she had her first solo exhibition. Many more would follow over the next few years, featuring her photography along with her mixed media work.

She landed in New York in 1998, set on pursuing a career in commercial photography. But fashion and beauty imagery drew her in and she quickly switched gears. Her seductive and refined images got her noticed and she started to work with some of the world’s most renowned clients and creatives.

Helena’s work draws from her Scandinavian and Southern European roots. Her style is timeless, elegant and sprinkled with retro references. Her photos appear as dreamlike images in which fiction and reality meet; well-known tropes merge; and past and present fuse. Time and memory always play a key role. Applying a poetic and often cinematic visual language, she seduces the viewer into a quest to find poetic meaning in everyday life.

Since 2019 Helena has made Kingston, NY, her home. There she opened a studio, Yellow House Production, where she welcomes her New York business and local clients. She is currently engaged in a diverse lineup of projects, from fashion editorial to beauty shoots, and high-end product photography, to portraits and fine art.

Portrait of Helena Palazzi

MARTIN ADOLFSSON: Suburbia Gone Wild

MARTIN ADOLFSSON: Suburbia Gone Wild


“Suburbia Gone Wild”


Within the past two decades, we’ve seen a huge shift in the balance of economic power. Countries that didn’t have a middle class 20 years ago have seen a rapid transformation from an agricultural economy to an industrial-based economy, so much so that a sizable percentage of the population now belongs to the middle class.

How does that affect the social groups who have been able to benefit the most from the economic boom? How does that influence one’s identity when the change is so rapid? Using a minimalist photography aesthetics, forgoing the fluff to focus on the essence of things, I want to explore that search for identity taking place in the suburbs surrounding Shanghai, Bangkok, Bangalore, Cairo, Moscow, Johannesburg, Sao Paolo, and Mexico City.

By omitting geographical and national traces, I seek to create a strong visual narrative between these disarmingly similar landscapes. The similarities interest me more than the national and cultural differences. My intentions are to create a visual narrative that takes the viewer on the front lines of an emerging global movement.

WHY I LOVE IT, by Aurélie

I’ve worked with Martin Adolfsson a few times and loved his minimalist photography and his intellectual approach to his subjects. He’s very meticulous — he comes in with a clear idea of what he wants to achieve and does it! Both as an artist and as a human being, Martin questions what’s in front of him and is interested in the meaning behind the surface. He always wants to understand the ins and outs of the situation he finds himself in.

His minimalist photography might seem simple at first glance, but it is anything but. Through seemingly straightforward images, his work raises thorny issues with no clear answers.

His series “Suburbia Gone Wild” is a perfect illustration of his inquisitive mind. His photographs ask what happens when the world follows an Americanized way of living. How does that uniformity affect local cultures and customs? What does it mean to be of a place if you live in a house that doesn’t pertain to that place? How do you balance globalization and individualism?

PS: Martin created with a friend THE best app on the market, minutiae, which prompts you at random times to take a picture of the minutiae (yet important moments) of your life. The app is a reaction to the overly-stylized Instagram and Tik Tok of this world. It’s both profound and fun. Try it… and thank me later!


Born and raised in Sweden, Martin Adolfsson now lives in New York City, where he obtained a one-year “Artist-in-Residence” at SVA in 2007. Mostly self-taught and equally fascinated by the art of photography and the possibilities new technologies offer, his work lives at the intersection of photography, technology and behavior.

His acclaimed book Suburbia Gone Wild and its minimalist photography focus on the search for identity among the new upper middle class in eight emerging economies. For it, Adolfsson traveled the world disguised as a potential home buyer and captured photos of nondescript model homes. The project was described by curator Petek Sketcher as “amusing and awkwardly eerie, as Adolfsson documents a curious phenomenon that looks more and more like the constructed world of The Truman Show.” Some of the photographs have been shown at Hagedorn Gallery in Atlanta, and the series appeared in many publications like The Atlantic, Slate, La Repubblica (Italy), and CNN among many other places. 

In 2014 Adolfsson was part of the inaugural class of the Art/Tech/Design incubator program NEW INC, the world’s first museum-led incubator created by the New Museum in New York. There, Adolfsson co-created the anti-social media app minutiae with Neuroscientist Daniel J Wilson. The app allows participants from around the world to participate in a daily ritual of capturing mundane ordinary moments at the exact same minute regardless of time zone. The project has received wide attention including Wired Magazine calling it “The curious app that captures your unfiltered life,” and the Financial Times saying, “Anti-social photo app offers antidote to Instagram and Facebook.”

Portrait of Martin Adolfsson






Growing up in a small town on the central coast of California, I dreamed about horses. 

When I was five years old my parents bought the gentle neighborhood horse who had patiently taught numerous children how to ride. As a child I competed, riding hunters and jumpers; I now ride reined cow horses. 

Combining my love of photography and my connection to these animals was a natural evolution.  When conceptualizing this project, I wanted to challenge myself and decided to shoot black horses against black and white horses against white, all with simple lighting.

Horses have an authentic spirit and a natural beauty; I wanted to allow the viewer to see them in a stripped-away version, in a sculptural way.

WHY I LOVE IT, by Aurélie

I worked with Lori on a couple of her ad shoots when she came to New York. She was warm and friendly, and the jobs felt like a family affair. When I thought about artists for the gallery, I naturally went back to people I had felt a connection with. That’s when I discovered Lori’s horse series and fell in love with the images.

Horses are magnificent creatures. They are big and imposing but also graceful and gentle. Albeit very different, these two horses are equally beautiful. You can feel the strength of the black one, while the white one looks almost otherworldly.

Lori’s photographs capture their beauty and power. The simplicity of the setup and minimalist background mean there’s nothing to distract us—it’s all about the animals in front of us and nothing else.

PS: I incorrectly thought at first the white horse was albino but it is actually a Perlino, a breed known for its cream coat with pink skin and its blue eyes. The cream color can vary from a very pale off-white to a pale coffee color [thanks, Wikipedia!].


Lori Adamski-Peek is an American award-winning commercial photographer and cinematographer. She received her degree from California Polytechnic State University in Applied Art and Design before pursuing a career as a commercial photographer focusing on lifestyle and sports imagery.   

Lori has covered 10 Olympic Games and has traveled extensively around the world for a large variety of clients. Her business, Adamski-Peek Productions, is known for producing complicated, multi-layered projects for many of the world’s largest companies. Lori’s work is notable for her honest, visual storytelling and her use of nuanced and technical lighting.

In 2017, Lori Adamski-Peek worked as the Director of Photography and Producer on “Down the Fence,” a full-length documentary about the lifestyle and culture of a group of reined cow horse trainers from around the USA.

Lori Adamski-Peek currently resides in Park City, Utah, with her husband, two dogs and three horses. 

Portrait of photographer Lori Adamski-Peek




“Garden Wild”


I have been photographing nature, and specifically gardens, for almost thirty years. This exhibit shows a mix of personal images and commissioned projects I was hired for.

Emotions and connection to larger reality are something that I aspire to in my photographs. I hope that, when viewing the images,  you might be moved, guided by your intuition and creative spirit to discover and nurture this special link. My pictures represent humanity and the natural world as a unified oneness.  

In a world where everything moves at lightning speed, I would like the viewer of this exhibit to pause for a moment to contemplate the power of a single still image. My photographs are best enjoyed the same way they were made — in stillness. 

WHY I LOVE IT, by Aurélie

I’ve worked with Andre a few times on his advertising shoots. We bonded over our shared immigrant experience — he’s from Poland while I’m French by birth (but New Yorker by choice and heart!). He’s a lovely man and I immediately thought of him when I came up with the idea of doing an online photography gallery. I knew I wanted to work with him and show his images.

His love for photography runs deep, and his technical mastery is obvious to anyone who works with him. But what I loved the most was how intimate his images are.

While carefully constructed, the photographs are not stiff or precious. A little imperfection, a little unruliness are welcome. Where another photographer would make sure everything is perfectly aligned and stylized, Andre embraces and celebrates the unexpected. It brings life to his images — that’s what I love about his work!

It’s no surprise that nature is the perfect-slash-imperfect model for him!


Based in New York, Andre Baranowski is an award-winning advertising and editorial photographer. His focus has been on food, nature and travel photography. He approaches his subjects with both technical rigor and an appreciation (some would say, an embrace) for the unexpected.

His unorthodox approach to food photography in particular set him apart in the editorial world as he broke away from perfectly styled images. Subsequently, his work found itself on the covers of renowned publications, including Departures, Saveur, Food & Wine, Better Homes & Gardens, and Garden Design, among others. 

Andre has also photographed and collaborated on a number of widely celebrated books, from Mediterranean Fresh by Joyce Goldstein; Hudson Valley Chef’s Table by Julia Sexton; Kimchi Chronicles with Marja and Jean Georges Vongerichten; Sustainably Delicious by Michel Nischan, to The Making Of Three Gardens with Jorge Sanchez and The Duke of Devonshire.

His images have been recognized numerous times by PRINT, SPD, PDN, Graphis Magazine and other publications devoted to celebrating the best photography in the world.

Portrait of photographer Andre Baranoswki