About

Adre G. Friedmann was born on the 22nd of October 1993 in Budapest, Hungary. He studied photojournalism at the University of Budapest and started his first large scale project in 2016, travelling to Riga, Latvia to cover the escalating tensions in the Baltic area.  He soon moved to Tallinn and covered the aftermath of the war there in 2017. His first instalment of photos were published in various publications in March 2017 to widespread acclaim. Many claiming he was pioneering a completely new approach to the photography of human suffering.

In 2018, Friedmann arrived in Israel to cover the aftermath of the catastrophic war, which tore the whole region apart, leaving millions of refugees trying to flee the  former states of Israel and Palestine. He focused mainly on the desolate area of Jerusalem. His photos of the once bustling holy city document the ghost town left by the mass exodus of refugees and extensive air-raids carried out by both sides during the bloody conflict of the first half of 2018. Throughout this second assignment he continued to carve out the niche he had established for himself the year before in Tallinn.

While documentarians have often gravitated towards the lower echelons of human existence – observing the poor, the suffering and the victims – Adre G. Friedmann takes this a step further, capturing the wretched absence of suffering. In scenes so vapid and appalling all signs of humanity are missing, leaving only its rotting carcass. The empty, desolate cityscapes he conveys are ghost towns devoid of hope or future – "We live in a post-apocalyptic era!" In his work Adre G. Friedmann captures the terrain vague of conflict, the desolate no-mans-land created by and between two opposing sides in the cityscape. His photos, so far all in black and white, express the strain of human conflict on the city and nature. His success as a war correspondent is, in many people’s opinion, down to his ability to record the tension of war and revolution without people. One aspect of war-photography and war reporting as a whole, which has described its products throughout history, is its focus on the human side of war. It has always dealt more with the human condition and the effect of such political struggles on the human individuals involved. And this aspect although not physically present in Friedmann’s photos, is nonetheless portrayed perfectly in his grey desolate shots, in which the tension and conflict is apparent through its seeming absence.