Kostas Maros has been capturing moments for the Basler Zeitung (BaZ) since 2011, but his artistic vision extends far beyond daily newspaper assignments. The former lawyer turned photographer is currently showcasing his creative side along the Rhine River as part of the "BildFluss" (Image Flow) exhibition, demonstrating the dual nature of his professional life.
"In the morning I photographed Daniel Vasella, who was CEO of Novartis at the time, and in the afternoon a prostitute in Kleinbasel," Maros explains when asked about the diversity of press photography. "When I'm working for the BaZ, I never know exactly what the day will bring. I find that exciting."
This doesn't mean he enjoys photographing tram stops or construction sites – those are the less appealing mandatory assignments that come with working for a daily newspaper. However, when he's staging portraits of artists or other fascinating people from the cultural scene, he's truly in his element. He carefully orchestrates these shoots when time allows, thoughtfully considering location and lighting rather than simply snapping photos.
Maros, who has Greek roots, left his established legal career to pursue an entirely different path. After completing his law studies at the University of Basel and working for an insurance company, he abandoned the legal profession in 2011 to respond to a call from the BaZ, which was seeking new photographers at the time.
"That was a few months before a year-long world trip that my partner and I had planned," Maros recalls. "So I left my career a bit early and did an internship at the BaZ before we packed up and left." He had provisionally arranged an internship with an advertising photographer for after their return, but circumstances allowed him to start part-time at the BaZ instead. During that period, he combined both press and advertising photography, continuously learning from both fields.
Today, Maros balances commissioned work with his independent artistic projects. As a photographer, he works for the BaZ and other clients, while as a multiple award-winning artist, he dedicates himself to personal projects. His current work, "BildFluss," was initiated by BelleVue, a photography venue. Alongside Maros – who won the Swiss Press Award in 2025 – photographers Serge Hasenböhler and Christian Schnur are also participating in the exhibition displayed along the Kleinbasel Rhine waterfront.
Maros's concept involves showing people in urban spaces who have already changed into their swimwear but haven't yet reached the Rhine. The river, that magical attraction to which the BaZ dedicated a summer series, is absent from the images, yet viewers can imagine what it will be like when the subjects reach their destination.
The project required considerable preparation time. People willing to pose in swimming trunks or bikinis on neighborhood and side streets had to be found first. While many responded to calls on social media and at BelleVue, not all were suitable for implementing the project. Then came the task of scheduling appointments, selecting the right locations, defining appropriate visual language, and executing it consistently.
What makes the implementation special is that Maros used a view camera – those large-format cameras mounted on tripods that somewhat recall the equipment of early photographers, such as those in the American Wild West. The photographer throws a cloth over himself to check if the settings are correct, and subjects must hold still for a moment while focus is adjusted.
"It's the first time I've used a view camera to photograph people," Maros explains. Previously, he used this special camera, which guarantees high resolution even in details, for still lifes and landscapes. For example, in his "Cicatrice" project, where he addressed the quarrying of Carrara marble on the northern edge of Tuscany in the Apuan Alps, or for work series along Highway No. 1 in the United States.
He has implemented various other ideas as well. In a Tokyo gallery, he recently exhibited his work "Cabaret Bizarre," inspired by 1930s cabarets, somewhere between freak shows, curiosity cabinets, and carnivals of desire. As a contrast to all this: tram stops and construction sites – quite a range indeed.
Maros appreciates the stable income from commissioned photography because it provides security against the volatile income from art. Artistic photography requires patience, with irregular earnings that don't always pay off immediately. Producing a high-quality photo book costs around 50,000 Swiss francs, and when exhibiting in galleries, a portion of the income naturally remains there.
Nevertheless, the Basel-based photographer maintains his perspective: "I didn't turn my back on law to pursue work that isn't fun." In other words, as long as the BaZ and other clients give him assignments that go beyond tram stops and construction sites, he's happy to execute them. Press photography also serves as a door opener – BaZ assignments occasionally lead to additional projects and collaborations.
Being broadly positioned as a freelancer reduces the risk of suddenly facing nothing. However, one shouldn't spread too thin. "I don't do wedding or baby photography, sports and event photography," he states matter-of-factly. A professional colleague once told him at the beginning of his career that a soccer player doesn't also play basketball – advice he has taken to heart ever since.
Some security certainly doesn't hurt, as Maros knows well. After all, he began his professional life in the insurance industry and gained firsthand knowledge of everything that can happen in that world. The "BildFluss" exhibition runs from Friday, September 5, through Saturday, September 27, along the Lower Rhine Path between the Middle Bridge and St. John's Bridge.
