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Over the last few months I’ve been taking yearbook photos of trans people, creating a body of work with people who don’t see themselves anymore in their original yearbook pictures from school.
I’m super grateful and happy that so many people were involved in the project, the people who volunteered, donated to the crowdfund, AFK, studios @catwalk.creativespace and @studio13amsterdam and most of all — the people who trusted me to get their photo taken.
The work will be exhibited Bar Bario July 10th-14th. I want to invite everybody on 𝐉𝐮𝐥𝐲 𝟏𝟏𝐭𝐡 𝐚𝐭 𝟕:𝟑𝟎𝐩𝐦 to come and have drinks at Bario to celebrate.
Over the last few months I’ve been taking yearbook photos of trans people, creating a body of work with people who don’t see themselves anymore in their original yearbook pictures from school.
I’m super grateful and happy that so many people were involved in the project, the people who volunteered, donated to the crowdfund, AFK, studios @catwalk.creativespace and @studio13amsterdam and most of all — the people who trusted me to get their photo taken.
The work will be exhibited Bar Bario July 10th-14th. I want to invite everybody on 𝐉𝐮𝐥𝐲 𝟏𝟏𝐭𝐡 𝐚𝐭 𝟕:𝟑𝟎𝐩𝐦 to come and have drinks at Bario to celebrate.
Over the last few months I’ve been taking yearbook photos of trans people, creating a body of work with people who don’t see themselves anymore in their original yearbook pictures from school.
I’m super grateful and happy that so many people were involved in the project, the people who volunteered, donated to the crowdfund, AFK, studios @catwalk.creativespace and @studio13amsterdam and most of all — the people who trusted me to get their photo taken.
The work will be exhibited Bar Bario July 10th-14th. I want to invite everybody on 𝐉𝐮𝐥𝐲 𝟏𝟏𝐭𝐡 𝐚𝐭 𝟕:𝟑𝟎𝐩𝐦 to come and have drinks at Bario to celebrate.
Over the last few months I’ve been taking yearbook photos of trans people, creating a body of work with people who don’t see themselves anymore in their original yearbook pictures from school.
I’m super grateful and happy that so many people were involved in the project, the people who volunteered, donated to the crowdfund, AFK, studios @catwalk.creativespace and @studio13amsterdam and most of all — the people who trusted me to get their photo taken.
The work will be exhibited Bar Bario July 10th-14th. I want to invite everybody on 𝐉𝐮𝐥𝐲 𝟏𝟏𝐭𝐡 𝐚𝐭 𝟕:𝟑𝟎𝐩𝐦 to come and have drinks at Bario to celebrate.
Over the last few months I’ve been taking yearbook photos of trans people, creating a body of work with people who don’t see themselves anymore in their original yearbook pictures from school.
I’m super grateful and happy that so many people were involved in the project, the people who volunteered, donated to the crowdfund, AFK, studios @catwalk.creativespace and @studio13amsterdam and most of all — the people who trusted me to get their photo taken.
The work will be exhibited Bar Bario July 10th-14th. I want to invite everybody on 𝐉𝐮𝐥𝐲 𝟏𝟏𝐭𝐡 𝐚𝐭 𝟕:𝟑𝟎𝐩𝐦 to come and have drinks at Bario to celebrate.
Over the last few months I’ve been taking yearbook photos of trans people, creating a body of work with people who don’t see themselves anymore in their original yearbook pictures from school.
I’m super grateful and happy that so many people were involved in the project, the people who volunteered, donated to the crowdfund, AFK, studios @catwalk.creativespace and @studio13amsterdam and most of all — the people who trusted me to get their photo taken.
The work will be exhibited Bar Bario July 10th-14th. I want to invite everybody on 𝐉𝐮𝐥𝐲 𝟏𝟏𝐭𝐡 𝐚𝐭 𝟕:𝟑𝟎𝐩𝐦 to come and have drinks at Bario to celebrate.
Over the last few months I’ve been taking yearbook photos of trans people, creating a body of work with people who don’t see themselves anymore in their original yearbook pictures from school.
I’m super grateful and happy that so many people were involved in the project, the people who volunteered, donated to the crowdfund, AFK, studios @catwalk.creativespace and @studio13amsterdam and most of all — the people who trusted me to get their photo taken.
The work will be exhibited Bar Bario July 10th-14th. I want to invite everybody on 𝐉𝐮𝐥𝐲 𝟏𝟏𝐭𝐡 𝐚𝐭 𝟕:𝟑𝟎𝐩𝐦 to come and have drinks at Bario to celebrate.
Part 1 - The last few days I’ve been capturing the bruises and injuries caused by police assaults on peaceful protesters for 🍉 in Amsterdam and Utrecht last week. These are the first few images of the series.
I want to give a big thank you to the protesters who allowed me to capture them.
FP.
Part 1 - The last few days I’ve been capturing the bruises and injuries caused by police assaults on peaceful protesters for 🍉 in Amsterdam and Utrecht last week. These are the first few images of the series.
I want to give a big thank you to the protesters who allowed me to capture them.
FP.
Part 1 - The last few days I’ve been capturing the bruises and injuries caused by police assaults on peaceful protesters for 🍉 in Amsterdam and Utrecht last week. These are the first few images of the series.
I want to give a big thank you to the protesters who allowed me to capture them.
FP.
Part 1 - The last few days I’ve been capturing the bruises and injuries caused by police assaults on peaceful protesters for 🍉 in Amsterdam and Utrecht last week. These are the first few images of the series.
I want to give a big thank you to the protesters who allowed me to capture them.
FP.
My father was the perfect refugee. He came to the Netherlands during the civil war in Liberia in 1995. He learned the Dutch language, went to school, took a job in the public sector, married a Dutch woman, and moved to a quiet suburb. After the war, he returned to his home country. There, he built a school for former child-soldiers, kids who had been recruited during the war to fight for rebel groups and had therefore never received an education. On paper, my father was the perfect refugee. In practice, he left my mother behind with me and my two younger sisters. I was 11, my sisters 9 and 4.
When my father left, he was a hero in my eleven-year-old eyes. He was going to start a school for former child soldiers, taking on the noble task of rebuilding the country he loved so much. However, I also saw how other people disapproved of him. They could not understand how this man could leave his family behind.
Even as I grew older, this internal conflict never resolved. I turned my confusion into this two-chapter series, “Why You Left, Who You Left”.
When speaking about refugees, people often say that “they should go back to their own country.” This project follows a man who actually made that choice, and the complexity behind it: how difficult it was to leave after building a life in the Netherlands as a refugee, but also how difficult it was to stay in a place that never fully felt like home.
Why You Left, Who You Left is an ongoing project started in 2024/2025. Special thank you to my father, mother, and siblings for their part in this story.
My father was the perfect refugee. He came to the Netherlands during the civil war in Liberia in 1995. He learned the Dutch language, went to school, took a job in the public sector, married a Dutch woman, and moved to a quiet suburb. After the war, he returned to his home country. There, he built a school for former child-soldiers, kids who had been recruited during the war to fight for rebel groups and had therefore never received an education. On paper, my father was the perfect refugee. In practice, he left my mother behind with me and my two younger sisters. I was 11, my sisters 9 and 4.
When my father left, he was a hero in my eleven-year-old eyes. He was going to start a school for former child soldiers, taking on the noble task of rebuilding the country he loved so much. However, I also saw how other people disapproved of him. They could not understand how this man could leave his family behind.
Even as I grew older, this internal conflict never resolved. I turned my confusion into this two-chapter series, “Why You Left, Who You Left”.
When speaking about refugees, people often say that “they should go back to their own country.” This project follows a man who actually made that choice, and the complexity behind it: how difficult it was to leave after building a life in the Netherlands as a refugee, but also how difficult it was to stay in a place that never fully felt like home.
Why You Left, Who You Left is an ongoing project started in 2024/2025. Special thank you to my father, mother, and siblings for their part in this story.
My father was the perfect refugee. He came to the Netherlands during the civil war in Liberia in 1995. He learned the Dutch language, went to school, took a job in the public sector, married a Dutch woman, and moved to a quiet suburb. After the war, he returned to his home country. There, he built a school for former child-soldiers, kids who had been recruited during the war to fight for rebel groups and had therefore never received an education. On paper, my father was the perfect refugee. In practice, he left my mother behind with me and my two younger sisters. I was 11, my sisters 9 and 4.
When my father left, he was a hero in my eleven-year-old eyes. He was going to start a school for former child soldiers, taking on the noble task of rebuilding the country he loved so much. However, I also saw how other people disapproved of him. They could not understand how this man could leave his family behind.
Even as I grew older, this internal conflict never resolved. I turned my confusion into this two-chapter series, “Why You Left, Who You Left”.
When speaking about refugees, people often say that “they should go back to their own country.” This project follows a man who actually made that choice, and the complexity behind it: how difficult it was to leave after building a life in the Netherlands as a refugee, but also how difficult it was to stay in a place that never fully felt like home.
Why You Left, Who You Left is an ongoing project started in 2024/2025. Special thank you to my father, mother, and siblings for their part in this story.
My father was the perfect refugee. He came to the Netherlands during the civil war in Liberia in 1995. He learned the Dutch language, went to school, took a job in the public sector, married a Dutch woman, and moved to a quiet suburb. After the war, he returned to his home country. There, he built a school for former child-soldiers, kids who had been recruited during the war to fight for rebel groups and had therefore never received an education. On paper, my father was the perfect refugee. In practice, he left my mother behind with me and my two younger sisters. I was 11, my sisters 9 and 4.
When my father left, he was a hero in my eleven-year-old eyes. He was going to start a school for former child soldiers, taking on the noble task of rebuilding the country he loved so much. However, I also saw how other people disapproved of him. They could not understand how this man could leave his family behind.
Even as I grew older, this internal conflict never resolved. I turned my confusion into this two-chapter series, “Why You Left, Who You Left”.
When speaking about refugees, people often say that “they should go back to their own country.” This project follows a man who actually made that choice, and the complexity behind it: how difficult it was to leave after building a life in the Netherlands as a refugee, but also how difficult it was to stay in a place that never fully felt like home.
Why You Left, Who You Left is an ongoing project started in 2024/2025. Special thank you to my father, mother, and siblings for their part in this story.
My father was the perfect refugee. He came to the Netherlands during the civil war in Liberia in 1995. He learned the Dutch language, went to school, took a job in the public sector, married a Dutch woman, and moved to a quiet suburb. After the war, he returned to his home country. There, he built a school for former child-soldiers, kids who had been recruited during the war to fight for rebel groups and had therefore never received an education. On paper, my father was the perfect refugee. In practice, he left my mother behind with me and my two younger sisters. I was 11, my sisters 9 and 4.
When my father left, he was a hero in my eleven-year-old eyes. He was going to start a school for former child soldiers, taking on the noble task of rebuilding the country he loved so much. However, I also saw how other people disapproved of him. They could not understand how this man could leave his family behind.
Even as I grew older, this internal conflict never resolved. I turned my confusion into this two-chapter series, “Why You Left, Who You Left”.
When speaking about refugees, people often say that “they should go back to their own country.” This project follows a man who actually made that choice, and the complexity behind it: how difficult it was to leave after building a life in the Netherlands as a refugee, but also how difficult it was to stay in a place that never fully felt like home.
Why You Left, Who You Left is an ongoing project started in 2024/2025. Special thank you to my father, mother, and siblings for their part in this story.
My father was the perfect refugee. He came to the Netherlands during the civil war in Liberia in 1995. He learned the Dutch language, went to school, took a job in the public sector, married a Dutch woman, and moved to a quiet suburb. After the war, he returned to his home country. There, he built a school for former child-soldiers, kids who had been recruited during the war to fight for rebel groups and had therefore never received an education. On paper, my father was the perfect refugee. In practice, he left my mother behind with me and my two younger sisters. I was 11, my sisters 9 and 4.
When my father left, he was a hero in my eleven-year-old eyes. He was going to start a school for former child soldiers, taking on the noble task of rebuilding the country he loved so much. However, I also saw how other people disapproved of him. They could not understand how this man could leave his family behind.
Even as I grew older, this internal conflict never resolved. I turned my confusion into this two-chapter series, “Why You Left, Who You Left”.
When speaking about refugees, people often say that “they should go back to their own country.” This project follows a man who actually made that choice, and the complexity behind it: how difficult it was to leave after building a life in the Netherlands as a refugee, but also how difficult it was to stay in a place that never fully felt like home.
Why You Left, Who You Left is an ongoing project started in 2024/2025. Special thank you to my father, mother, and siblings for their part in this story.
My father was the perfect refugee. He came to the Netherlands during the civil war in Liberia in 1995. He learned the Dutch language, went to school, took a job in the public sector, married a Dutch woman, and moved to a quiet suburb. After the war, he returned to his home country. There, he built a school for former child-soldiers, kids who had been recruited during the war to fight for rebel groups and had therefore never received an education. On paper, my father was the perfect refugee. In practice, he left my mother behind with me and my two younger sisters. I was 11, my sisters 9 and 4.
When my father left, he was a hero in my eleven-year-old eyes. He was going to start a school for former child soldiers, taking on the noble task of rebuilding the country he loved so much. However, I also saw how other people disapproved of him. They could not understand how this man could leave his family behind.
Even as I grew older, this internal conflict never resolved. I turned my confusion into this two-chapter series, “Why You Left, Who You Left”.
When speaking about refugees, people often say that “they should go back to their own country.” This project follows a man who actually made that choice, and the complexity behind it: how difficult it was to leave after building a life in the Netherlands as a refugee, but also how difficult it was to stay in a place that never fully felt like home.
Why You Left, Who You Left is an ongoing project started in 2024/2025. Special thank you to my father, mother, and siblings for their part in this story.
My father was the perfect refugee. He came to the Netherlands during the civil war in Liberia in 1995. He learned the Dutch language, went to school, took a job in the public sector, married a Dutch woman, and moved to a quiet suburb. After the war, he returned to his home country. There, he built a school for former child-soldiers, kids who had been recruited during the war to fight for rebel groups and had therefore never received an education. On paper, my father was the perfect refugee. In practice, he left my mother behind with me and my two younger sisters. I was 11, my sisters 9 and 4.
When my father left, he was a hero in my eleven-year-old eyes. He was going to start a school for former child soldiers, taking on the noble task of rebuilding the country he loved so much. However, I also saw how other people disapproved of him. They could not understand how this man could leave his family behind.
Even as I grew older, this internal conflict never resolved. I turned my confusion into this two-chapter series, “Why You Left, Who You Left”.
When speaking about refugees, people often say that “they should go back to their own country.” This project follows a man who actually made that choice, and the complexity behind it: how difficult it was to leave after building a life in the Netherlands as a refugee, but also how difficult it was to stay in a place that never fully felt like home.
Why You Left, Who You Left is an ongoing project started in 2024/2025. Special thank you to my father, mother, and siblings for their part in this story.
My father was the perfect refugee. He came to the Netherlands during the civil war in Liberia in 1995. He learned the Dutch language, went to school, took a job in the public sector, married a Dutch woman, and moved to a quiet suburb. After the war, he returned to his home country. There, he built a school for former child-soldiers, kids who had been recruited during the war to fight for rebel groups and had therefore never received an education. On paper, my father was the perfect refugee. In practice, he left my mother behind with me and my two younger sisters. I was 11, my sisters 9 and 4.
When my father left, he was a hero in my eleven-year-old eyes. He was going to start a school for former child soldiers, taking on the noble task of rebuilding the country he loved so much. However, I also saw how other people disapproved of him. They could not understand how this man could leave his family behind.
Even as I grew older, this internal conflict never resolved. I turned my confusion into this two-chapter series, “Why You Left, Who You Left”.
When speaking about refugees, people often say that “they should go back to their own country.” This project follows a man who actually made that choice, and the complexity behind it: how difficult it was to leave after building a life in the Netherlands as a refugee, but also how difficult it was to stay in a place that never fully felt like home.
Why You Left, Who You Left is an ongoing project started in 2024/2025. Special thank you to my father, mother, and siblings for their part in this story.
My father was the perfect refugee. He came to the Netherlands during the civil war in Liberia in 1995. He learned the Dutch language, went to school, took a job in the public sector, married a Dutch woman, and moved to a quiet suburb. After the war, he returned to his home country. There, he built a school for former child-soldiers, kids who had been recruited during the war to fight for rebel groups and had therefore never received an education. On paper, my father was the perfect refugee. In practice, he left my mother behind with me and my two younger sisters. I was 11, my sisters 9 and 4.
When my father left, he was a hero in my eleven-year-old eyes. He was going to start a school for former child soldiers, taking on the noble task of rebuilding the country he loved so much. However, I also saw how other people disapproved of him. They could not understand how this man could leave his family behind.
Even as I grew older, this internal conflict never resolved. I turned my confusion into this two-chapter series, “Why You Left, Who You Left”.
When speaking about refugees, people often say that “they should go back to their own country.” This project follows a man who actually made that choice, and the complexity behind it: how difficult it was to leave after building a life in the Netherlands as a refugee, but also how difficult it was to stay in a place that never fully felt like home.
Why You Left, Who You Left is an ongoing project started in 2024/2025. Special thank you to my father, mother, and siblings for their part in this story.
Mark your calendars! Op dinsdag 2 juni duiken we in het werk van fotografen @tengbehkamara en @annaleen_louwes.
📷 Tengbeh Kamara (1996) is een Nederlands-Liberiaanse fotograaf (1996) gevestigd in Amsterdam. Hun portret- en documentairewerk onderzoekt intimiteit, herinnering en identiteit.
📷 Annaleen Louwes (1959) woont en werkt in Amsterdam. Ze studeerde fotografie aan de Gerrit Rietveld Academie, waar ze later zelf ook als docent aan de slag ging. Naast haar opdrachten werkt ze als autonoom kunstenaar.
Ondanks hun verschillende generaties en achtergronden, delen beide makers een soortgelijke zoektocht. Hierover worden ze geïnterviewd door @madeby8.
👉 Hoe beïnvloedt de migratiegeschiedenis van hun ouders hun werk?
Een avond vol persoonlijke verhalen over identiteit, loyaliteit en de emotionele erfenis van migratie. Kom ook!
📅 DI 2 JUN, 20:00
🎟️ Reserveer je (gratis!) plek via de link in bio
📍 Pakhuis de Zwijger
Mark your calendars! Op dinsdag 2 juni duiken we in het werk van fotografen @tengbehkamara en @annaleen_louwes.
📷 Tengbeh Kamara (1996) is een Nederlands-Liberiaanse fotograaf (1996) gevestigd in Amsterdam. Hun portret- en documentairewerk onderzoekt intimiteit, herinnering en identiteit.
📷 Annaleen Louwes (1959) woont en werkt in Amsterdam. Ze studeerde fotografie aan de Gerrit Rietveld Academie, waar ze later zelf ook als docent aan de slag ging. Naast haar opdrachten werkt ze als autonoom kunstenaar.
Ondanks hun verschillende generaties en achtergronden, delen beide makers een soortgelijke zoektocht. Hierover worden ze geïnterviewd door @madeby8.
👉 Hoe beïnvloedt de migratiegeschiedenis van hun ouders hun werk?
Een avond vol persoonlijke verhalen over identiteit, loyaliteit en de emotionele erfenis van migratie. Kom ook!
📅 DI 2 JUN, 20:00
🎟️ Reserveer je (gratis!) plek via de link in bio
📍 Pakhuis de Zwijger
Mark your calendars! Op dinsdag 2 juni duiken we in het werk van fotografen @tengbehkamara en @annaleen_louwes.
📷 Tengbeh Kamara (1996) is een Nederlands-Liberiaanse fotograaf (1996) gevestigd in Amsterdam. Hun portret- en documentairewerk onderzoekt intimiteit, herinnering en identiteit.
📷 Annaleen Louwes (1959) woont en werkt in Amsterdam. Ze studeerde fotografie aan de Gerrit Rietveld Academie, waar ze later zelf ook als docent aan de slag ging. Naast haar opdrachten werkt ze als autonoom kunstenaar.
Ondanks hun verschillende generaties en achtergronden, delen beide makers een soortgelijke zoektocht. Hierover worden ze geïnterviewd door @madeby8.
👉 Hoe beïnvloedt de migratiegeschiedenis van hun ouders hun werk?
Een avond vol persoonlijke verhalen over identiteit, loyaliteit en de emotionele erfenis van migratie. Kom ook!
📅 DI 2 JUN, 20:00
🎟️ Reserveer je (gratis!) plek via de link in bio
📍 Pakhuis de Zwijger
Mark your calendars! Op dinsdag 2 juni duiken we in het werk van fotografen @tengbehkamara en @annaleen_louwes.
📷 Tengbeh Kamara (1996) is een Nederlands-Liberiaanse fotograaf (1996) gevestigd in Amsterdam. Hun portret- en documentairewerk onderzoekt intimiteit, herinnering en identiteit.
📷 Annaleen Louwes (1959) woont en werkt in Amsterdam. Ze studeerde fotografie aan de Gerrit Rietveld Academie, waar ze later zelf ook als docent aan de slag ging. Naast haar opdrachten werkt ze als autonoom kunstenaar.
Ondanks hun verschillende generaties en achtergronden, delen beide makers een soortgelijke zoektocht. Hierover worden ze geïnterviewd door @madeby8.
👉 Hoe beïnvloedt de migratiegeschiedenis van hun ouders hun werk?
Een avond vol persoonlijke verhalen over identiteit, loyaliteit en de emotionele erfenis van migratie. Kom ook!
📅 DI 2 JUN, 20:00
🎟️ Reserveer je (gratis!) plek via de link in bio
📍 Pakhuis de Zwijger
Mark your calendars! Op dinsdag 2 juni duiken we in het werk van fotografen @tengbehkamara en @annaleen_louwes.
📷 Tengbeh Kamara (1996) is een Nederlands-Liberiaanse fotograaf (1996) gevestigd in Amsterdam. Hun portret- en documentairewerk onderzoekt intimiteit, herinnering en identiteit.
📷 Annaleen Louwes (1959) woont en werkt in Amsterdam. Ze studeerde fotografie aan de Gerrit Rietveld Academie, waar ze later zelf ook als docent aan de slag ging. Naast haar opdrachten werkt ze als autonoom kunstenaar.
Ondanks hun verschillende generaties en achtergronden, delen beide makers een soortgelijke zoektocht. Hierover worden ze geïnterviewd door @madeby8.
👉 Hoe beïnvloedt de migratiegeschiedenis van hun ouders hun werk?
Een avond vol persoonlijke verhalen over identiteit, loyaliteit en de emotionele erfenis van migratie. Kom ook!
📅 DI 2 JUN, 20:00
🎟️ Reserveer je (gratis!) plek via de link in bio
📍 Pakhuis de Zwijger
Mark your calendars! Op dinsdag 2 juni duiken we in het werk van fotografen @tengbehkamara en @annaleen_louwes.
📷 Tengbeh Kamara (1996) is een Nederlands-Liberiaanse fotograaf (1996) gevestigd in Amsterdam. Hun portret- en documentairewerk onderzoekt intimiteit, herinnering en identiteit.
📷 Annaleen Louwes (1959) woont en werkt in Amsterdam. Ze studeerde fotografie aan de Gerrit Rietveld Academie, waar ze later zelf ook als docent aan de slag ging. Naast haar opdrachten werkt ze als autonoom kunstenaar.
Ondanks hun verschillende generaties en achtergronden, delen beide makers een soortgelijke zoektocht. Hierover worden ze geïnterviewd door @madeby8.
👉 Hoe beïnvloedt de migratiegeschiedenis van hun ouders hun werk?
Een avond vol persoonlijke verhalen over identiteit, loyaliteit en de emotionele erfenis van migratie. Kom ook!
📅 DI 2 JUN, 20:00
🎟️ Reserveer je (gratis!) plek via de link in bio
📍 Pakhuis de Zwijger
Mark your calendars! Op dinsdag 2 juni duiken we in het werk van fotografen @tengbehkamara en @annaleen_louwes.
📷 Tengbeh Kamara (1996) is een Nederlands-Liberiaanse fotograaf (1996) gevestigd in Amsterdam. Hun portret- en documentairewerk onderzoekt intimiteit, herinnering en identiteit.
📷 Annaleen Louwes (1959) woont en werkt in Amsterdam. Ze studeerde fotografie aan de Gerrit Rietveld Academie, waar ze later zelf ook als docent aan de slag ging. Naast haar opdrachten werkt ze als autonoom kunstenaar.
Ondanks hun verschillende generaties en achtergronden, delen beide makers een soortgelijke zoektocht. Hierover worden ze geïnterviewd door @madeby8.
👉 Hoe beïnvloedt de migratiegeschiedenis van hun ouders hun werk?
Een avond vol persoonlijke verhalen over identiteit, loyaliteit en de emotionele erfenis van migratie. Kom ook!
📅 DI 2 JUN, 20:00
🎟️ Reserveer je (gratis!) plek via de link in bio
📍 Pakhuis de Zwijger
Selected project: The Trans Yearbook by @tengbehkamara
We present carefully curated projects that bring urgent queer narratives into public space.
This project is available as an exhibition for organisations, cultural institutions and companies.
A ready-to-present photo series that can be adapted to different spaces, with optional talks or public programming.
More info: queergallery.com/for-organisations or link in bio.
About The Trans Yearbook
The Trans Yearbook is a collection of over 70 portraits of trans people who, after medical and/or social transition, do not recognise themselves anymore in the school photo’s from their past. This project is a second chance for them to capture their growth and who they’ve become.
More info: queergallery.com/the-trans-yearbook
Selected project: The Trans Yearbook by @tengbehkamara
We present carefully curated projects that bring urgent queer narratives into public space.
This project is available as an exhibition for organisations, cultural institutions and companies.
A ready-to-present photo series that can be adapted to different spaces, with optional talks or public programming.
More info: queergallery.com/for-organisations or link in bio.
About The Trans Yearbook
The Trans Yearbook is a collection of over 70 portraits of trans people who, after medical and/or social transition, do not recognise themselves anymore in the school photo’s from their past. This project is a second chance for them to capture their growth and who they’ve become.
More info: queergallery.com/the-trans-yearbook
Selected project: The Trans Yearbook by @tengbehkamara
We present carefully curated projects that bring urgent queer narratives into public space.
This project is available as an exhibition for organisations, cultural institutions and companies.
A ready-to-present photo series that can be adapted to different spaces, with optional talks or public programming.
More info: queergallery.com/for-organisations or link in bio.
About The Trans Yearbook
The Trans Yearbook is a collection of over 70 portraits of trans people who, after medical and/or social transition, do not recognise themselves anymore in the school photo’s from their past. This project is a second chance for them to capture their growth and who they’ve become.
More info: queergallery.com/the-trans-yearbook
Selected project: The Trans Yearbook by @tengbehkamara
We present carefully curated projects that bring urgent queer narratives into public space.
This project is available as an exhibition for organisations, cultural institutions and companies.
A ready-to-present photo series that can be adapted to different spaces, with optional talks or public programming.
More info: queergallery.com/for-organisations or link in bio.
About The Trans Yearbook
The Trans Yearbook is a collection of over 70 portraits of trans people who, after medical and/or social transition, do not recognise themselves anymore in the school photo’s from their past. This project is a second chance for them to capture their growth and who they’ve become.
More info: queergallery.com/the-trans-yearbook
Selected project: The Trans Yearbook by @tengbehkamara
We present carefully curated projects that bring urgent queer narratives into public space.
This project is available as an exhibition for organisations, cultural institutions and companies.
A ready-to-present photo series that can be adapted to different spaces, with optional talks or public programming.
More info: queergallery.com/for-organisations or link in bio.
About The Trans Yearbook
The Trans Yearbook is a collection of over 70 portraits of trans people who, after medical and/or social transition, do not recognise themselves anymore in the school photo’s from their past. This project is a second chance for them to capture their growth and who they’ve become.
More info: queergallery.com/the-trans-yearbook
Selected project: The Trans Yearbook by @tengbehkamara
We present carefully curated projects that bring urgent queer narratives into public space.
This project is available as an exhibition for organisations, cultural institutions and companies.
A ready-to-present photo series that can be adapted to different spaces, with optional talks or public programming.
More info: queergallery.com/for-organisations or link in bio.
About The Trans Yearbook
The Trans Yearbook is a collection of over 70 portraits of trans people who, after medical and/or social transition, do not recognise themselves anymore in the school photo’s from their past. This project is a second chance for them to capture their growth and who they’ve become.
More info: queergallery.com/the-trans-yearbook
Selected project: The Trans Yearbook by @tengbehkamara
We present carefully curated projects that bring urgent queer narratives into public space.
This project is available as an exhibition for organisations, cultural institutions and companies.
A ready-to-present photo series that can be adapted to different spaces, with optional talks or public programming.
More info: queergallery.com/for-organisations or link in bio.
About The Trans Yearbook
The Trans Yearbook is a collection of over 70 portraits of trans people who, after medical and/or social transition, do not recognise themselves anymore in the school photo’s from their past. This project is a second chance for them to capture their growth and who they’ve become.
More info: queergallery.com/the-trans-yearbook
Selected project: The Trans Yearbook by @tengbehkamara
We present carefully curated projects that bring urgent queer narratives into public space.
This project is available as an exhibition for organisations, cultural institutions and companies.
A ready-to-present photo series that can be adapted to different spaces, with optional talks or public programming.
More info: queergallery.com/for-organisations or link in bio.
About The Trans Yearbook
The Trans Yearbook is a collection of over 70 portraits of trans people who, after medical and/or social transition, do not recognise themselves anymore in the school photo’s from their past. This project is a second chance for them to capture their growth and who they’ve become.
More info: queergallery.com/the-trans-yearbook
Selected project: The Trans Yearbook by @tengbehkamara
We present carefully curated projects that bring urgent queer narratives into public space.
This project is available as an exhibition for organisations, cultural institutions and companies.
A ready-to-present photo series that can be adapted to different spaces, with optional talks or public programming.
More info: queergallery.com/for-organisations or link in bio.
About The Trans Yearbook
The Trans Yearbook is a collection of over 70 portraits of trans people who, after medical and/or social transition, do not recognise themselves anymore in the school photo’s from their past. This project is a second chance for them to capture their growth and who they’ve become.
More info: queergallery.com/the-trans-yearbook
Selected project: The Trans Yearbook by @tengbehkamara
We present carefully curated projects that bring urgent queer narratives into public space.
This project is available as an exhibition for organisations, cultural institutions and companies.
A ready-to-present photo series that can be adapted to different spaces, with optional talks or public programming.
More info: queergallery.com/for-organisations or link in bio.
About The Trans Yearbook
The Trans Yearbook is a collection of over 70 portraits of trans people who, after medical and/or social transition, do not recognise themselves anymore in the school photo’s from their past. This project is a second chance for them to capture their growth and who they’ve become.
More info: queergallery.com/the-trans-yearbook
Almost one year since Why You Left, Who You Left opened at Melkweg Expo.
Curation by Fleurie Kloostra @fleuriekloostra
Exhibition design by Tjade Bouma @tjadebouma
Opening event photos by Francoise Bolechowski @franswazig
Made possible with support from Amsterdams Fonds voor de Kunst, Mondriaan Fonds and Fonds Anna Cornelis.
Almost one year since Why You Left, Who You Left opened at Melkweg Expo.
Curation by Fleurie Kloostra @fleuriekloostra
Exhibition design by Tjade Bouma @tjadebouma
Opening event photos by Francoise Bolechowski @franswazig
Made possible with support from Amsterdams Fonds voor de Kunst, Mondriaan Fonds and Fonds Anna Cornelis.
Almost one year since Why You Left, Who You Left opened at Melkweg Expo.
Curation by Fleurie Kloostra @fleuriekloostra
Exhibition design by Tjade Bouma @tjadebouma
Opening event photos by Francoise Bolechowski @franswazig
Made possible with support from Amsterdams Fonds voor de Kunst, Mondriaan Fonds and Fonds Anna Cornelis.
Almost one year since Why You Left, Who You Left opened at Melkweg Expo.
Curation by Fleurie Kloostra @fleuriekloostra
Exhibition design by Tjade Bouma @tjadebouma
Opening event photos by Francoise Bolechowski @franswazig
Made possible with support from Amsterdams Fonds voor de Kunst, Mondriaan Fonds and Fonds Anna Cornelis.
Almost one year since Why You Left, Who You Left opened at Melkweg Expo.
Curation by Fleurie Kloostra @fleuriekloostra
Exhibition design by Tjade Bouma @tjadebouma
Opening event photos by Francoise Bolechowski @franswazig
Made possible with support from Amsterdams Fonds voor de Kunst, Mondriaan Fonds and Fonds Anna Cornelis.
Almost one year since Why You Left, Who You Left opened at Melkweg Expo.
Curation by Fleurie Kloostra @fleuriekloostra
Exhibition design by Tjade Bouma @tjadebouma
Opening event photos by Francoise Bolechowski @franswazig
Made possible with support from Amsterdams Fonds voor de Kunst, Mondriaan Fonds and Fonds Anna Cornelis.
Almost one year since Why You Left, Who You Left opened at Melkweg Expo.
Curation by Fleurie Kloostra @fleuriekloostra
Exhibition design by Tjade Bouma @tjadebouma
Opening event photos by Francoise Bolechowski @franswazig
Made possible with support from Amsterdams Fonds voor de Kunst, Mondriaan Fonds and Fonds Anna Cornelis.
Almost one year since Why You Left, Who You Left opened at Melkweg Expo.
Curation by Fleurie Kloostra @fleuriekloostra
Exhibition design by Tjade Bouma @tjadebouma
Opening event photos by Francoise Bolechowski @franswazig
Made possible with support from Amsterdams Fonds voor de Kunst, Mondriaan Fonds and Fonds Anna Cornelis.
Almost one year since Why You Left, Who You Left opened at Melkweg Expo.
Curation by Fleurie Kloostra @fleuriekloostra
Exhibition design by Tjade Bouma @tjadebouma
Opening event photos by Francoise Bolechowski @franswazig
Made possible with support from Amsterdams Fonds voor de Kunst, Mondriaan Fonds and Fonds Anna Cornelis.
Almost one year since Why You Left, Who You Left opened at Melkweg Expo.
Curation by Fleurie Kloostra @fleuriekloostra
Exhibition design by Tjade Bouma @tjadebouma
Opening event photos by Francoise Bolechowski @franswazig
Made possible with support from Amsterdams Fonds voor de Kunst, Mondriaan Fonds and Fonds Anna Cornelis.
Almost one year since Why You Left, Who You Left opened at Melkweg Expo.
Curation by Fleurie Kloostra @fleuriekloostra
Exhibition design by Tjade Bouma @tjadebouma
Opening event photos by Francoise Bolechowski @franswazig
Made possible with support from Amsterdams Fonds voor de Kunst, Mondriaan Fonds and Fonds Anna Cornelis.
Almost one year since Why You Left, Who You Left opened at Melkweg Expo.
Curation by Fleurie Kloostra @fleuriekloostra
Exhibition design by Tjade Bouma @tjadebouma
Opening event photos by Francoise Bolechowski @franswazig
Made possible with support from Amsterdams Fonds voor de Kunst, Mondriaan Fonds and Fonds Anna Cornelis.
Almost one year since Why You Left, Who You Left opened at Melkweg Expo.
Curation by Fleurie Kloostra @fleuriekloostra
Exhibition design by Tjade Bouma @tjadebouma
Opening event photos by Francoise Bolechowski @franswazig
Made possible with support from Amsterdams Fonds voor de Kunst, Mondriaan Fonds and Fonds Anna Cornelis.
Photos for the new edition of @lhomo, six stories of people who aren’t able to come out.
Thank you killer duo @iebelevandermeulen and @stijndevriesss
styling @richardschreefel
Words by @timverp
Photos for the new edition of @lhomo, six stories of people who aren’t able to come out.
Thank you killer duo @iebelevandermeulen and @stijndevriesss
styling @richardschreefel
Words by @timverp
Photos for the new edition of @lhomo, six stories of people who aren’t able to come out.
Thank you killer duo @iebelevandermeulen and @stijndevriesss
styling @richardschreefel
Words by @timverp
Photos for the new edition of @lhomo, six stories of people who aren’t able to come out.
Thank you killer duo @iebelevandermeulen and @stijndevriesss
styling @richardschreefel
Words by @timverp
Photos for the new edition of @lhomo, six stories of people who aren’t able to come out.
Thank you killer duo @iebelevandermeulen and @stijndevriesss
styling @richardschreefel
Words by @timverp
Photos for the new edition of @lhomo, six stories of people who aren’t able to come out.
Thank you killer duo @iebelevandermeulen and @stijndevriesss
styling @richardschreefel
Words by @timverp
Photos for the new edition of @lhomo, six stories of people who aren’t able to come out.
Thank you killer duo @iebelevandermeulen and @stijndevriesss
styling @richardschreefel
Words by @timverp
Selected as a FUTURES Artist this year, a European platform supporting and connecting emerging photographers.
Thank you @fotodok.nl and @futuresphotography for selecting my work. Looking forward to what this year will bring.
Happy 1 year of being on the big blue planet to Seoni and happy mommiversary to @schdurga . Was fun photographing the two of you even though Seoni kept crawling out of the frame.
Photographed Kris at this hidden bike repair shop in de Pijp, Smerig. The shop’s been around for nearly 40 years, and they have a soft spot for (mostly old) bicycles. Run by volunteers, it’s an affordable place that cares about whatever items can still be saved. Here, the bike (not the customer) is king.
Thanks, Kris, loved taking a peek behind the scenes at this iconic spot.
photography : @tengbehkamara
assisting: @lievevanderzijde
Photographed Kris at this hidden bike repair shop in de Pijp, Smerig. The shop’s been around for nearly 40 years, and they have a soft spot for (mostly old) bicycles. Run by volunteers, it’s an affordable place that cares about whatever items can still be saved. Here, the bike (not the customer) is king.
Thanks, Kris, loved taking a peek behind the scenes at this iconic spot.
photography : @tengbehkamara
assisting: @lievevanderzijde
Photographed Kris at this hidden bike repair shop in de Pijp, Smerig. The shop’s been around for nearly 40 years, and they have a soft spot for (mostly old) bicycles. Run by volunteers, it’s an affordable place that cares about whatever items can still be saved. Here, the bike (not the customer) is king.
Thanks, Kris, loved taking a peek behind the scenes at this iconic spot.
photography : @tengbehkamara
assisting: @lievevanderzijde
Photographed Kris at this hidden bike repair shop in de Pijp, Smerig. The shop’s been around for nearly 40 years, and they have a soft spot for (mostly old) bicycles. Run by volunteers, it’s an affordable place that cares about whatever items can still be saved. Here, the bike (not the customer) is king.
Thanks, Kris, loved taking a peek behind the scenes at this iconic spot.
photography : @tengbehkamara
assisting: @lievevanderzijde
Photographed Kris at this hidden bike repair shop in de Pijp, Smerig. The shop’s been around for nearly 40 years, and they have a soft spot for (mostly old) bicycles. Run by volunteers, it’s an affordable place that cares about whatever items can still be saved. Here, the bike (not the customer) is king.
Thanks, Kris, loved taking a peek behind the scenes at this iconic spot.
photography : @tengbehkamara
assisting: @lievevanderzijde
Always happy to have Thorn in front of my lens. Thank you, once again @thorn.vineyard 💛
Always happy to have Thorn in front of my lens. Thank you, once again @thorn.vineyard 💛
View Instagram Stories in Secret
The Instagram Story Viewer is an easy tool that lets you secretly watch and save Instagram stories, videos, photos, or IGTV. With this service, you can download content and enjoy it offline whenever you like. If you find something interesting on Instagram that you’d like to check out later or want to view stories while staying anonymous, our Viewer is perfect for you. Anonstories offers an excellent solution for keeping your identity hidden. Instagram first launched the Stories feature in August 2023, which was quickly adopted by other platforms due to its engaging, time-sensitive format. Stories let users share quick updates, whether photos, videos, or selfies, enhanced with text, emojis, or filters, and are visible for only 24 hours. This limited time frame creates high engagement compared to regular posts. In today’s world, Stories are one of the most popular ways to connect and communicate on social media. However, when you view a Story, the creator can see your name in their viewer list, which may be a privacy concern. What if you wish to browse Stories without being noticed? Here’s where Anonstories becomes useful. It allows you to watch public Instagram content without revealing your identity. Simply enter the username of the profile you’re curious about, and the tool will display their latest Stories. Features of Anonstories Viewer: - Anonymous Browsing: Watch Stories without showing up on the viewer list. - No Account Needed: View public content without signing up for an Instagram account. - Content Download: Save any Stories content directly to your device for offline use. - View Highlights: Access Instagram Highlights, even beyond the 24-hour window. - Repost Monitoring: Track the reposts or engagement levels on Stories for personal profiles. Limitations: - This tool works only with public accounts; private accounts remain inaccessible. Benefits: - Privacy-Friendly: Watch any Instagram content without being noticed. - Simple and Easy: No app installation or registration required. - Exclusive Tools: Download and manage content in ways Instagram doesn’t offer.
Advantages of Anonstories
Explore IG Stories Privately
Keep track of Instagram updates discreetly while protecting your privacy and staying anonymous.
Private Instagram Viewer
View profiles and photos anonymously with ease using the Private Profile Viewer.
Story Viewer for Free
This free tool allows you to view Instagram Stories anonymously, ensuring your activity remains hidden from the story uploader.
Frequently asked questions
Anonymity
Anonstories lets users view Instagram stories without alerting the creator.
Device Compatibility
Works seamlessly on iOS, Android, Windows, macOS, and modern browsers like Chrome and Safari.
Safety and Privacy
Prioritizes secure, anonymous browsing without requiring login credentials.
No Registration
Users can view public stories by simply entering a username—no account needed.
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Downloads photos (JPEG) and videos (MP4) with ease.
Cost
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Private Accounts
Content from private accounts can only be accessed by followers.
File Usage
Files are for personal or educational use only and must comply with copyright rules.
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Enter a public username to view or download stories. The service generates direct links for saving content locally.