Nadia Pearce is an emerging multidisciplinary artist and photographer based in London. Her practice explores memory, place, relationships and everyday experience through analogue photography and experimental image-making. 
 
Working across photography, collage and alternative photographic processes, she is interested in the tension between what is remembered, what is observed and what remains uncertain. Her work often focuses on quiet, fleeting moments and the relationships between people and the environments they inhabit.

Nadia Pearce

My work explores the quiet, often overlooked moments through which people occupy and relate to their surroundings. I am drawn to gestures, interactions and fragments of everyday life that resist a clear narrative, photographing people as they are caught within a moment rather than presented to the camera. Working primarily with analogue photography, I am interested in the distance between what is seen and what is understood. Obscured bodies, reflections, unusual viewpoints and incidental gestures allow moments to remain unresolved, inviting the viewer to recognise something familiar without being given a complete explanation. My photographs consider the ways memory, place and relationships shape our experience of ordinary moments. I look for instances where the personal becomes visible within the everyday: a fleeting interaction, a shared ritual, or a brief encounter that might otherwise pass unnoticed."

Time for Teeth."

"Mountain."

Chantal is an Irish textile artist living in Belgium, currently in her fourth year of studying photography. Her photographic practice began with an interest in technique and the formal qualities that define a successful image. 
 
Over time, this has developed into something more personal, a way of observing and expressing her experience of the world.

Chantal Purcell O'Byrne

This series emerges from a shared moment marked by peace, vulnerability and intimacy. Rather than attempting to document the experience directly, Chantal’s photographs hold onto its quieter traces: shifting light, silence, gestures and small details that might otherwise disappear from memory. 
 
Working with a Canon AV 1 and Ilford HP5 film, she allows these fragments to remain delicate and unresolved. The images seem to surface briefly, carrying the atmosphere of a moment that can be remembered but never fully recovered. In this sense, the series is less a record of what happened than an exploration of what remains, a feeling held briefly in the photographic frame before it too fades.

"My practice explores memory, identity, and cultural narrative through a visual language that resists fixed or inherited readings. I work in the subtle spaces between people and families. Their gestures, silences, fleeting interactions and treating cultural narrative not as something settled but as something contemporary, unstable, and still being written. Working primarily with film, I let grain, blur, and imperfection fracture the image away from documentary certainty into something felt rather than recorded. This is where nostalgia turns abstract: not a clear window onto the past, but a half-remembered impression of it, where texture stands in for memory and disruption stands in for time."

Tshiamo Machobane

"My archives of personal relationships aren't fixed histories but open ones, inviting viewers to recognise their own experience inside an image that refuses to resolve into a single, traditional truth."

"Family Table."

"I’m Muhammad Dava Aldana, a street photographer and culinary entrepreneur based in Semarang, Indonesia. My path to photography is deeply rooted in a personal fascination that began back in primary school. Over time, that early curiosity naturally evolved through my degree in Communication Science from Universitas Diponegoro and my day-to-day life running a street food merchant, making it completely inseparable from who I am today. Spending years immersed in ethnography, social science, and the rhythm of cultures has shaped how I look at humans. I've always been fascinated by how we interact in shared spaces. While digital tools have their place, I work almost exclusively with film using analog photography as a way to truly listen and document the cultural perspectives of things I encountered."

Muhammad Dava Aldana

"My camera is simply an extension of how I make sense of the world around me. I just love taking pictures as it is a fun way to connect with people and see the raw, genuine experiences hidden inside everyday life. Lately, I've found myself noticing how people from all different walks of life cross paths and breathe in this exact same shared space yet having different perspectives. We live in a world completely driven by fast-paced digital algorithms and instant, throwaway consumption. For me, shooting film is a deliberate act to slow down and push back against that momentum. The mechanical limits of an analog camera force a mindful pause. They demand that I stop, look closer, and genuinely connect with the scenes unfolding in front of me before I ever dare click the shutter."

"Woman in Black."

"As a portrait photographer, I explore people in their everyday lives, capturing the fine line between their inner worlds and the shared flow of time. In my practice, I rely equally on digital and film photography, using light, shadow, and texture simply as tools to focus on what matters most. For me, photography is a way to record a person without staging or false certainty. I seek a genuine presence in the moment, where true aesthetics reveal themselves through accidental details, imperfect forms, and, above all, the honest gaze of a person looking directly into the lens. My portraits are not definitive conclusions, but traces of real encounters held in light."

"Witness."

Victor Hugo

Maria Tsuman is a visual artist and portrait photographer based between Ulyanovsk, Samara, and Moscow. Since 2014, her practice has been centred around visual anthropology, psychological portraiture, and the concept of "the chronicle of trust" between the photographer and the subject. 
 
Tsuman’s work stands out for its deep focus on the individual, exploring themes of inner strength, raw vulnerability, and identity. Seamlessly combining digital media with analog photography, she utilises the tactile qualities of film - such as organic grain and rich shadow play - to elevate the human form into a timeless artistic statement. Her standalone portraits capture quiet, unscripted moments of profound self-acceptance, turning a single gaze into a compelling narrative of human connection.

Maria Tsuman

Jordan Williams-Colgan is a London-based photographer, cinematographer and creative director whose work explores atmosphere, emotion and the human condition. 
 
Working across digital and analogue photography, his practice is characterised by cinematic imagery, introspection and a sensitivity to light, colour and fleeting moments. 
 
Through his creative platform, Always Imperium, Jordan seeks to create images that feel both intimate and dreamlike, capturing the space between memory, reality and emotion.

Jordan Williams-Colgan

"Sexy Gyal."

"The Homie."

"Morr Time."

Paul Strand

Amour Orfeo is a Geneva-based, self-taught analogue photographer with roots in Ecuador and Chile, practising since late 2016. His work grows from a personal and attentive relationship to his surroundings, moving through everyday life, people close to him, animals, objects, architecture and nature. 
 
Through intuition, chance and fleeting moments, he develops a sensitive practice across photography, zines and experimental editing.

Amour Orfeo

"I photograph people through proximity, encounters and everyday observation. I am especially drawn to gestures, brief exchanges and moments in which someone seems to emerge naturally from their surroundings. Rather than constructing fixed portraits, I follow these passing situations and the different distances that can exist between the photographer, the person and the space they inhabit."

"Dulzura."

"Erasmus is a temporary experience, the people we meet become part of our everyday lives for a short period of time, but after the semester ends, we will no longer see each other everyday. With this awareness, I became increasingly interested in photographing the small, unplanned moments shared with the people that defined this period. This photograph was taken when two of my friends decided to cut their hair, helping one another through the process. Photographed in the bathroom of our dormitory, this scene captures a moment of intimacy, trust and friendship. Through analog photography, I seek to preserve these moments in a tangible way. This images became a way of holding onto the people and everyday situations that might otherwise fade with time."

Alice Maçarico

"Myrsky and Venla’s hair salon."

Atiya Nur Walker is a street/documentary photographer and independent photojournalist from and based in Philadelphia, Pennsylvania. 
 
Her work has been featured on Women in Street, as part of Lenscratch's “Favourite Photos You Took in 2024” Exhibition, and in the “Street Moments” and “Visions of Us” Exhibitions by Carlotta Gallery. 
 
Most recently, her work was selected by Urban Photo Awards for exhibition at Trieste Photo Days 2026.

Atiya Nur Walker

"Untitled."

"I was born in 1986 and spent most of my life in Kyiv. Growing up in late-Soviet and post-Soviet cities shaped not only my visual language but also my understanding of what it means to belong to a place. Through photography, I explore the relationship between people, urban environments, and cultural memory. I am interested in how cities shape our sense of identity and how traces of the past continue to exist within everyday life, long after political systems, ideologies, and generations have changed. My work often focuses on familiar elements of the urban landscape: broad avenues, public spaces, markets, courtyards, demonstrations, celebrations, and ordinary encounters between people. Equally important are moments of stillness - empty streets, transit stops, public squares, and buildings where human presence is felt even when no one appears in the frame."

Iaroslav Baklan

"My work is influenced by the avant-garde artistic movements of the early twentieth century, particularly the visual language of Malevich and Rodchenko, the poetry of Mayakovsky, Kharms, and Tsvetaeva, as well as the cinema of my childhood. I am drawn to their exploration of form, rhythm, and contrast, and to their ability to reveal new ways of seeing the familiar world. Photography, for me, is a way of investigating the connection between personal memory and collective history. Rather than documenting the past itself, I am interested in how it continues to inhabit the present - through architecture, public rituals, human gestures, and urban spaces that outlive the eras that created them."

"The Weight of Days."

Olivia Saunders is a UK-based photographer and History of Art graduate whose practice spans documentary, portrait and analogue photography. 
 
Working across both film and digital formats, she is interested in the relationship between people, place and memory, capturing quiet, often overlooked moments that reveal everyday narratives. Alongside her personal practice, she has experience in events, arts, and fashion photography and has taught analogue photography and darkroom printing in the United States.

Olivia Saunders

"Cashiers at a Service Station, Vietnam."

A polaroid photo is the opposite of AI slop. In a polaroid, the photographer cedes control to the present moment. There is no post-production, no chance to manipulate the image afterwards; you click, wait ten minutes, and there it is (AI is, by contrast, all post-production, all manipulation, with no present moment at all). 
 
Daniel Christensen’s photography uses the spontaneity of the polaroid to change the power dynamics between portrait photographers and their models, making his subjects co-creators and allowing them to express genuine vulnerability.

Daniel Christensen

The women (and occasionally men) who appear nude in his photos aren’t raw material to be shaped into an image of the photographer’s desire, but subjects with creative agency performing on their own terms. He sets the stage. They enact how they wish to be seen. And out pops the polaroid. That these photos are co-creations in part explains the diversity of Christensen’s images, echoing artists ranging from Helmut Newton, Man Ray, Tamara de Lempicka, and Francesca Woodman. Yet his own stylistic thread, a bohemian sensuality, runs through these, a kind of honesty about sexuality and the body not unlike the works of Peter Hujar, Robert Mapplethorpe, and Nan Goldin, the downtown New York scene now synonymous with polaroid portraiture.

"The Alien."

Christensen flips this aesthetic into dark mode, trading flash photography for shadow and the play of natural light, American earnestness for European modernism – a velvet curtain for the model’s own performance. 
 
Text by canadian art critic Matteo Calla.

"Analog Is Dead."

Ioana Sandu is a Romanian photographer born in Botoșani, Romania, and based in South Yorkshire, England. Her practice is rooted in themes of memory, childhood, navigating trauma and connection. She uses photography as a means of self-reflection, of making visible what is often hidden, and of understanding the world around her. 
 
Photography, for Ioana, is both observation and therapy. It allows her to reflect on personal history, to confront fragility, and to honour resilience. Past projects have explored self-image and the challenges of self-love, as well as embracing peace after trauma, when life slows and healing begins.

Ioana Sandu

Her latest work provides an insight into the artist’s childhood, revisiting her childhood home in Romania, now old and decaying, but still inhabited by her grandparents. Photography allows her to confront what she has avoided, transforming unease into reflection. She works with intimate portraits, landscapes within the home, reflective writing and family archives, prioritising tenderness and connection while situating personal stories within wider social realities.

"Lacrima."

"O, Doină, de dor." "In Romanian, "dor" is the ache that sits between love and absence. My grandfather wanted to protect us from it. He imagined a future where we would never be haunted by dor for too long. He built a house to hold us together for generations. That future was not ours to keep. We called it "The Big House". The Big House is a labyrinth of concrete and memories, where my grandparents raised me while my mother worked abroad. Love lived there, but so did longing. One by one, necessity scattered us beyond its walls. We crossed countries and continents in search of a better life, with dor running through our veins. What was meant to hold us together became a monument to the distance between us. In my absence, mould crept over the walls I used to draw on. Time carved itself into the hands that raised me. The garden swing I used to float on, now rusted and still, waits for a child that has long since grown."

"Tati's Birthday."

"Doina" is a traditional song that embodies dor. It is also my grandmother’s name. The tragedy is that her name became her fate. She longs for her children, and for the laughter that once filled the Big House. And like echoes beyond its walls, we long for her. I long for the smell of her coffee in the morning. I long for him scolding me for not eating enough. I long for a time when a phone call did not replace an embrace. These photographs are the doină of my family."

"Esi."

Leonor is a 19 year old Lisbon based artist whose practice is centred primarily on analogue photography. Her work explores the quiet, often overlooked moments that exist within the rush of everyday life. At the heart of her practice is an attentiveness to the world around her, a desire to pause, observe and give significance to what might otherwise go unnoticed. 
 
"Noticing" is perhaps the word that best describes her approach.

Leonor Nogueira Pinto

"Hello."

"Waiting."

"Modern Love."

Letícia Sereda approaches her subjects with a quiet attentiveness and a particular sensitivity to the everyday. Her use of monochrome, light and shadow gives the work a quiet emotional depth. 
 
There is an honesty and spontaneity in Sereda’s work, combined with a strong sensitivity to composition and space. Her photographs invite us to consider presence, age and identity, while drawing attention to the fleeting encounters and quiet moments that might otherwise disappear within the rhythm of everyday life.

Letícia Sereda

Letícia is a Brazilian photographer based in São Paulo. 
 
Her photographic work explores the everyday and the mundane around her - from light to the banal, bringing into focus moments and figures overlooked in the automatic routine of daily life. 
 
She moves between analogue and digital, black and white and colour, investigating depth, light and shadow.

"Series of Gentlemen / Série Senhores."

"On my last visit to London, I photographed one gentleman first; gradually, others began to appear throughout the trip. I came to realise that age reveals a certain kind of freedom."

Gabriella Kourkov (b. 1997, Chertsey) is a British-Ukrainian documentary photographer based in Kyiv. 
 
Her work is rooted in observation and guided by curiosity. Through photography, she follows the people, objects and places that continue to draw her attention. 
 
Her inspiration comes from looking closely at the ever-changing world around her, alongside film and history.

Gabriella Kourkov

"People don’t age that much differently from how they did when I was a kid. The way of life that felt like it was taking its last breath 20 years ago has a tank full of oxygen. The ladies still wear their office blazers to the market; the men still pick gooseberries in their suit trousers. What could be a still from a 1960s Soviet film is standing in front of me the minute I step into any sleeping district. Since my grandparents died, I had no reason to leave the city centre, where, as if in a completely different universe, time moves faster than anywhere else in the city. This summer I decided to see more of the place I grew up in but never explored. Now I’ve unlocked the power to time travel to where life feels slower and fuller. All I have to do is get on a bus and get off 40 minutes later."

"Time Is Out Of Joint."

Cidjy Cerlini is a photographer, screenwriter and director. She photographs moments of life as they unfold, without seeking to alter them. 
 
She is drawn to what is real, sometimes ordinary, and to the beauty that can emerge from a moment simply touched by beautiful light.

Cidjy Cerlini

"I never leave home without my film camera in my bag. Every day, I photograph a stolen moment of life. I can’t help it. I need to capture a light, a face, a movement before it disappears. I don’t create the moment; I observe it. It presents itself to me, sometimes without warning. Nothing is staged. I simply try to be there, to look, and to preserve a trace of something that existed, even if only for a moment."

"L’amitié sans terminus."

"Ce que la lumière raconte d’elle."

To photograph people is to encounter only a fragment of something far greater. Every individual carries an interior world formed by experience, memory and circumstance, much of which remains beyond what can be seen.

Photography creates a space in which these brief encounters can be examined. A gesture, expression or moment of stillness can suggest something without revealing everything. Perhaps this incompleteness is what makes looking at people meaningful.