After years of pushing his work towards constant reinvention, Jorg Karg found himself drawn back to something simpler: the quiet power of classic black-and-white photography. Born from a desire to enjoy the process rather than meet expectations, Clarity is an evolving body of work where experimentation, memory and intuition meet – a series without a fixed ending, shaped by the freedom to return whenever inspiration calls.
Photography Jorg Karg
Tomorrow A New Sky
My work is always a reflection of my day-to-day life, my state of mind, my mood, and my experiences. For most of my life, I wanted to push the boundaries of my work to the absolute limits, without realising for a long time that I was probably just fulfilling expectations. Making myself absolutely free is an illusion – but it’s a good one to chase.
When I began my work on this black-and-white series in 2025, I was kind of fed up with that run to reinvent myself over and over. Something felt off. At the time, I had that notes app on my phone with over 1,500 entries. Scrolling through them, I noticed how often the words 'black/white' or 'classic' appeared. It reminded me of the days when I simply enjoyed looking at great photography. I loved to buy all the magazines I could find. I loved to visit all the exhibitions
Made of Glass
Carefully Stolen Pieces
“My work is always a reflection of my day-to-day life, my state of mind, my mood, and my experiences.”
Ma Liberte
I could reach, and I more and more became a fan of classic black-and-white photography. The look. The paper. The tactile feel. All that has a certain feeling to me. Like good times.
So I decided to dive into it with one simple rule: Enjoy. I knew I would put my own personal stamp on this classic chapter of photography, and I was genuinely curious to see what would happen. The result is a small series of works that I’ve decided to continue. Yes, that’s right – this series is meant to be ongoing. This is the point where I want to explore new paths while perhaps returning to my roots of opening new doors. I don’t want to be limited by books or fixed series. I never liked that. I want to be able to hit that "joy button" at any time and return to that state of mind whenever I like. Whenever I need it.
So, this series, this book, these works might return in a couple of months, a couple of years, or at any other time – with a completely different look, different pieces, some replaced, some new, some coloured. Isn’t that an interesting thought? The never-ending series. For me, it is ‘Clarity’.
How Lions Walk
„I do not use any AI to create my works. This is my journey, I want to shape any aspect. Every single detail.“
When The Wind Blows
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After years of pushing his work towards constant reinvention, Jorg Karg found himself drawn back to something simpler: the quiet power of classic black-and-white photography. Born from a desire to enjoy the process rather than meet expectations, Clarity is an evolving body of work where experimentation, memory and intuition meet – a series without a fixed ending, shaped by the freedom to return whenever inspiration calls.
Halloween beauty inspired by the poetry of my personal favourite Edgar Allan Poe and newly discovered Sayat Nova, where heartache becomes art and nature and fruit have symbolic meaning. We explore themes of melancholy, disgust, decay, entrapment, and emotional fragility from poetry, film, and folklore.
In National Character, photographer John Sanderson travels across the American landscape in search of a country increasingly hidden in plain sight. Working with a 4×5 film camera, he takes the long way around – leaving major highways for small roads and carrying a demanding piece of photographic history into places shaped by industry, decline and change. His commitment to the journey is reflected in the photographs: patient, precise and quietly melancholic, they find a strange beauty in the overlooked corners of America.
Over a year, Leicester-based artist and educator Clair Robins turned her camera toward her teenage daughter. 52 Weeks – Stolen and Preserved traces a quiet negotiation between mother and child: some moments offered, others withheld. Moving between spontaneous portraiture, still life and tactile process, it is a tender record of becoming, and of letting go.
New Delhi-based visual artist Noor Kaur Randhawa explores the experience of growing up as a young woman in a world shaped by the threat of male violence and control. Photographing herself and her friends, she captures the ways they navigate fear, resistance, intimacy and freedom — from learning to call out the men around them to reclaiming their bodies, clothes and spaces. A portrait of coming of age, on their own terms.
In My Mother Speaks of Land as Memory, Ariana Gomez explores grief, identity and the landscapes that shape us. Born from the loss of her father, the project moves between the arid terrain of Texas and her mother’s Puerto Rican heritage, constructing a shared mythology from fragments of memory and archive – and bringing three generations together in a space between what was, what remains, and what might have been.
Marcus DeSieno photographs the exact sites along the US–Mexico border where migrants have disappeared, died or their bodies were recovered, reconstructing these locations through autopsy reports and humanitarian records. The project began after DeSieno encountered a dying migrant in an Arizona gas station. Made in the Sonoran Desert using laborious darkroom processes, his landscapes become haunting records of absence, death and remembrance.
Shot along the wild coastline of Scotland – ‘Between the light’ is a visual study on the space between bond and bounded. The series explores the strain of being tethered and what ties two people together. The points of tension and ease. A world between light and dark, where we are torn by those closest to us.
Photographer Emily Chalk spent two weeks in Marrakesh photographing the Sadik family, one of only five families still practising the 500-year-old tradition of snake charming in Jemaa el-Fna. What begins with fear and assumptions about the practice develops into an intimate encounter with trust, inheritance and disappearing traditions – revealing the lives, rituals and relationships that exist beyond the spectacle.
In Movement, Ukrainian photographer Roman Butym reflects on the relentless pace of contemporary life. His ongoing series portrays people lying in public spaces, appearing almost like exhausted objects suspended between movement and stillness. Against a world of constant mobility and information overload, Butym’s images explore anxiety, isolation and the quiet vulnerability hidden beneath the illusion of always being ‘in the flow’.
Photographer Eleonora Laufer explores the quiet spaces where presence lingers beneath the surface of everyday life. Shaped by her background in dance, yoga and meditation, her images embrace stillness as a way of seeing rather than an absence of activity. Through minimal compositions and subtle traces of the human, Laufer invites us to slow down and discover moments of connection, attention and reflection that often go unnoticed.
Inyeon is a Korean word for the connections between people that feel deeper than coincidence. In this series, the relationship between father and son unfolds slowly and intuitively, without a fixed narrative, focused not on specific moments but on presence itself.
In Where the Water Waits, photographer Michael Behlen explores California's Millerton Lake as a landscape suspended between control and uncertainty. Created over three years using rare monochromatic Polaroid Reclaimed Blue film, the project captures the reservoir during storms, transforming a heavily engineered water system into an atmospheric meditation on impermanence, memory, and the ever-changing relationship between land and water.
In Contrapasso, Italian photographer Massimiliano Corteselli examines the mythological and archetypal dimensions of man-made wildfires in the Mediterranean. Drawing on Dante Alighieri's concept of divine retribution, the project weaves together photography, folklore, and symbolism to reflect on greed, vengeance, and humanity's relationship with the land, creating a visual narrative that shifts between documentary, myth, and social critique.
Why would someone confess to a crime they never committed? In this powerful photobook, Robin Dahlberg collaborates with six exonerees to uncover the hidden realities of coercive police interrogations. Through striking portraits and firsthand testimonies, the book exposes the psychological pressures that led innocent people to confess, revealing a justice system where truth can be dangerously fragile.
In Jamestown's storied boxing gyms, women like Yarkor Chavez and Naa Amerley Turkson opened a path now walked by Abigail Quartey and Janet Acquah — fighting not just opponents, but poverty, stigma and indifference. Olaoluwa Olowu's Women Who Fight traces three generations of Ghana's female boxers, supported by the Pulitzer Center.
Para La Cultura y Fútbol (For the Culture and Football) explores identity as something lived, fluid, and continually evolving. Through collaboration, colour, and personal expression, New York–based photographer Ivana Cajina creates powerful images that celebrate community, individuality, and cultural heritage, honouring the beauty of identity in motion through shared experience and self-expression.
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Drinks photographer Ned Gibbs turns his lens toward the fading heart of England’s pub culture. Documenting pubs in quiet decline, the series captures the atmosphere, nostalgia and human traces left behind in these communal spaces. Both elegy and celebration, the work reflects Gibbs’ enduring fascination with the rituals, stories and connections formed around drinking culture.
“My Nipples Get Harder Than Your Dick” is an ongoing project by non-binary photographer Maria Bolz exploring gender identity, bodily autonomy, and external perception through self-portraiture. Blending vulnerability with humour, Bolz confronts the projections and misunderstandings imposed onto their body, reclaiming the gaze as an act of resistance and self-determination.
In Meteor Ghosts, photographer Florian Luthi revisits a little-known 1954 UFO case in the Jura, tracing how a children’s story evolved into local folklore and international sensation. Blending archival research, documentary photography, and staged imagery, the project explores the fragile space between testimony and invention across the mist-covered landscapes of the French-Swiss border.
This collaborative fine-art photography project by Romane Bladou, explores teenage life in rural southern France. Photographed with a large-format camera, it captures the liminal energy of adolescence, the waiting, the ardour, the quiet act of claiming space. A portrait of a territory seen through its youngest inhabitants' eyes.
Strawberry Blue is a meditative fine-art photography project by Marinos Tsagkarakis, set in a dreamlike Dutch park. Born from the aftermath of migration, it traces an intimate journey of displacement, identity and wandering slowly transforms into growing new roots.
Photographer Jack Eames has spent years documenting Haircuts4Homeless, using his fashion and beauty background to create portraits that humanise people experiencing homelessness. His exhibition, SEEN, in partnership with Capture One, brings that work into a physical space — challenging how we see vulnerability, identity, and our shared humanity.
In Remains, photographer Hamzeh Zahran reflects on returning to Amman with the distance of diaspora, confronting a fractured sense of home. Through black-and-white imagery, he traces tensions between past and present, family and self, capturing intimate and symbolic moments that reveal what endures – and what feels irrevocably altered – in his evolving relationship with Jordan.
Anya Tsaruk’s project “I Hope Your Family Is Safe” is named after a phrase she has heard many times since Russia launched a full-scale invasion of Ukraine – words meant to comfort, but that feel uncertain and hard to answer. Her work explores what ‘safety’ really means in a country at war. Through everyday scenes of loss, love and resilience, she shows a more human, complex picture of Ukraine beyond simple victim narratives.
A Dream That You Would Never Wake Up From explores migration as a perpetual crossing between lands, memories and identities. Through collaged photographs, the artist reflects on displacement, ancestral histories and emotional borders. Nostalgia becomes visceral, belonging remains fragile, and the past persists as a dreamlike terrain where personal and collective histories quietly intertwine.
Glossy and shimmery beauty looks return with a dash of imperfection. Is it a nostalgic reminder of times when print media, your inner circle, or cultural knowledge dominated? Perhaps it’s a doppelgänger to clean, perfectly applied neutral beauty dictated by online tutorials from beauty influencers or industry experts.
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