«Garden was a way to experiment and making a pdf book was a way to edit and make a selection. It didn’t need to be in traditional book form or on the website. Garden doesn’t necessarily mean that it’s just photos of gardens, some of them are and some not. Nature, parks etc. could be looked at, as our collective garden too.»

Garden comes as a free pdf book optimized for iPad (iBooks). 1024 x 768 px, 14 pages, 12 photos. Also available in an edition of 15 laser printed as it is on watermarked 100 g A4 archival paper and stapled. 

© All copyright remains with photographer Martin Brink

Steter AU/Crossover Fic Idea

Dollhouse Crossover: Stiles is a Doll and Peter one of his regular customers. And even though Peter has signed a contract to never damage the merchandise, he’s always been a little rough, couldn’t help but mark that beautiful mole-dotted skin just a bit.

Sometimes Peter asks for a sweetly innocent Stiles, when he craves to spoil that beautiful boy, craves to debauch him and take him apart, to be called daddy and that hitching, breatheless tone of voice.

Mostly, though, he wants Stiles to be spunky and intelligent, able to give as good as he gets, with a biting humor and able to keep up. He never knows what to expect on those days. And nights.

The longer Peter keeps obssessing over Stiles, however, the stronger his instinct to claim and possess becomes. He’s a werewolf after all, and sharing has never been his strong suit.

He doesn’t know what biting a Doll would do, doesn’t know if it’ll damage Stiles beyond repair. Doesn’t even know if he’ll want the real Stiles if given the chance.

But the longer he has to share Stiles with faceless strangers, the less he cares about any of these things. If the Bite breaks his beautiful boy, at least no one else can have him either.

So he books an appointment in between fullmoons, 24 hours just to be sure it wouldn’t be traced back to him (if Stiles’ handlers or the House should come to the conclusion of “werewolf”, which they should during Stiles’ first fullmoon) and tires Stiles out with athletic sex until he’s asleep. Making sure to drain Stiles’ pain away as to make sure his vital sign won’t spike, he bites his wrist and then settles back to watch.

When it is time for Stiles to leave, the Bite is fully healed with no one the wiser.

Now all he has to do is wait.


During the next fullmoon, Stiles goes completely crazy and no one knows what’s going on. His last assignment had gone off without a hitch, as it always did when Lydia Martin booked his services, and Topher is unable to trace the anomaly in the system.

The Bite has a peculiar effect on Stiles, breaking through the Wipe and causing him to have alarming flashbacks. Coupled with his out-of-control instincts, he goes berserk, completely trashing the place and injuring other Dolls. No tranquilizer they have at hand is able to stop him and he finally is able to get out of the Dollhouse, tearing aimlessly through the city.


Accustomed to the pull of the moon, Peter simply waits until Stiles breaks out. He lets him roam a little when he does so, lets him get far enough away from the Dollhouse to be inconspicuous, before revealing himself to the newly turned pup.

They’ll be having so much fun.

February, 13th — February, 19th 2012 
Moscow Museum of Contemporary Art 

The Moscow Museum of Modern Art and the Esquire magazine present the exhibition Dust and Scratches. The project curated by Maxim Nikanorov, the art director of the Esquire magazine, will bring together the works of the leading world photographers of today. The majority of the authors in question have never been exhibited in Moscow as yet.

The title of the show evokes the eponymous web project — the “Dust and Scratches” gallery offers its visitors the opportunity to acquire the best samples of contemporary art photography at a poster price. Thanks to the collaboration of the Esquire magazine, hundreds of leading world photographers, including the winners of the World Press Photo Award and other prestigious competitions, agreed to show and sell their works at the “Dust and Scratches” gallery. Maxim Nikanorov has personally selected each piece among thousands of photos the gallery presents.

The exhibition features the works by such art photographers as Piero Martinello, Steven Barritt, Jack Redcliffe, Amy Touchette, Brian Sorg, Martin Brink (above image), Jeroen Hofman, Keliy Anderson-Staley, Erick Refner, Adam Panczuk et al.

© All copyright Martin Brink



1. First, let’s talk about your predilection for black and white. How this attitude is reflected in your photography?

It just happened gradually and now I’m stuck. It’s not that I’ve never shot color photos, but the color has never grown into a series (yet). What interests me about photography is the transformation process to fiction and to me it’s so much more evident in black and white photography. So I don’t consider black and white to be more true or better in a documentary sense, probably the opposite. I also love that time is less evident and the graphical qualities in black and white.

2. “Unlimited” is configured as an open collection of special glances. How much desire to stitch together personal memories or how much willing to depict single episodes here and there?

«To be honest there’s not that much thought behind that collection of  photos. I created it simply to have a place for good singles, photos from short projects or whatever. I didn’t want to impose any rules (crops, orientation, camera types…) or anything of that kind. I want it to be free and just see what happens with it. Maybe it’s gone a year from now or maybe it has grown. What I like about it is that I can find a three year old photo and add it or I can remove a new photo that I maybe added to quickly. That’s what’s good about a website, no need for everything to be static.»

3. The portraits of single and common objects. An objective realism that drives us to meditate not too seriously on the daily lifetime. We find them in the series “Objects”, “31 Kr”, and somehow in “Titled”. Tell us about these projects.

«What these projects have in common is that I’ve been drawn to certain objects and then I’ve just photographed them and put them in a series. It’s really not a lot more complicated than that. In “Objects” which is quite an old series I wanted to distort the objects and make them into something more than just objects. I did that by using quite a lot of wide angle and flash and of course by the selection of objects. “Titled” was more about typography and the words I found interesting or funny and could take out of context from the books. “31 kr” is quite different as it’s things I decided to buy at a second hand shop and take home and photograph. The title “31 kr” was the total I paid for them (31 swedish kr or SEK). So, I basically was editing as I was selecting the things to purchase and maybe in the end everything didn’t come out perfectly because of that, but I decided to include everything I bought.»

4. In the project “Mailboxes” there is an instinctive or involuntary intent to document a landscape. Mailboxes appear as pretexts for the photographer; yet to the observer they become key references in a geography of nowhere… 

«Mailboxes isn’t really about the mailboxes at all. I just let them decide where and what I would photograph. It was random snapshots shot by chance of where I would find them. How will I photograph a given scene? What will be in the frame once I’m there? Can photos be created anywhere at any time? These were some of the questions I was asking myself. So in a way it was conceptual snapshots. I shot it with a point & shoot and probably spent a maximum of two minutes at any location I came to. I didn’t want it to be all set up and perfect. I wanted it to be by chance of what I would find there and then. I think photographs can be created anywhere at any time. As long as anyone can press the shutter button they obviously can, but of course it can’t be applied to all projects. So either geography is important or it’s the opposite, either it adds or detracts. In my case the latter. What’s in the photograph and what it looks like is what I care about. If we’re going back to Mailboxes I chose them because there are many of them at varied locations, which means I could get varied content. Subjectively I want to show a little of the human geography, but objectively I’m not that interested.»

5. You have produce a book about the series “The Daily Round”. As a young photographer living in the digital era, how do you see the photographic publishing scenario?

«I wanted that book to reflect the project with a sort of everyday feel to it, almost like a book dummy. Before I did the book I talked to some independent publishers about publishing it. There was a little interest, but in the end it didn’t happen and then I thought why not do it myself? I wanted to produce and get something out there and that’s what I did. That’s what I think is great about todays photographic publishing scenario - everybody can make a book and in many cases the more personal and less quantity the better. This is all great, but what I think is more important is that we don’t forget about digital publishing and figure out a way to market and sell there as well. It would be fantastic with more cheap independent e-books on the smartphones and tablet computers. A purchase is never far away.»

6. Photography started with black and white. What photographic inspirations, artistic or literary influenced you as a photographer?

«Well, I’ve always been a bit inspired by Garry Winogrand’s thoughts and quotes on photography. No fuzz and no pretension. I look at and appreciate so many photographers out there that it’s hard to just name a few. From Sweden I really like the work of Gerry Johansson and Lars Tunbjörk and internationally there’s so many: William Eggleston, Stephen Shore, Bruce Gilden, Alex Majoli, John Davies, Martin Parr, Roger Ballen, Masao Yamamoto, Christian Patterson and I can keep going. I’m not in to a certain category or type of photography, I appreciate all or at least most kinds of photography.»

© All copyright remains with photographer Martin Brink

Martin Brink’s secret garden

Above Untitled, from Garden, 2011. (©Martin Brink/Courtesy of the photographer).

From the grand formal layouts of the Palace of Versailles on the outskirts of Paris, to the humble urban space or window box, the garden has formed an important part of our social history for centuries. Be it the Japanese rock garden so associated with Zen Buddhism, in which one finds space and time to enter into a meditative state, or the traditional English Rose garden, these physical spaces offer and maintain man’s connection with the natural world.

In his latest body of work, Garden, Martin Brink constructs his own vision of a garden through a series of twelve images taken in not one, but a variety of gardens. Whose gardens these maybe, is largely unimportant, as what Brink presents is a personal interpretation of a garden, that in size and scale the vast majority of us can relate to on a daily basis.

Here in his black-and-white images, with their restrained tonal range of greys, we enter Brink’s secret garden through a small wooden gate, shielded from the outside world by tall evergreen trees and shrubs; we glimpse the apex of a rooftop through the sun speckled leaves of a garden shrub; and a goose half asleep, one eye on the photographer, resting in a secluded and shady corner. 

As we enjoy our own gardens and those of friends, or explore the magnificent formal gardens of grand country houses, they each reveal much to the casual glance, yet they yield even higher rewards to those that take the time to look deeper and longer at their natural grandeur so often overlooked or hidden, Brink’s gentle and sensitive monochromatic photographs only reveal their inner meditative state to the viewer prepared to give them time, exploring their depth and quality.

The Garden is self-published as a free PDF format book optimized for the iPad, and as a limited edition of 15 copies, each signed and numbered with an A5-sized C-print.

Further reading The Daily Round and Walks by Martin Brink.