Rob Hornstra (born in Borne, the Netherlands, 1975) is a photographer and self-publisher of slow-form documentary work. He studied social and legal services at the Utrecht University of Applied Sciences and photographic design at the Utrecht School of the Arts. Since his graduation in 2004, Hornstra extensively works on self-publishing his own work. His publications include The Secret History of Khava Gaisanova (2013), Sochi Singers (2011), 101 Billionaires (2008), Communism & Cowgirls (2004) and many others. In 2012, he won a first prize in the World Press Photo Award competition.
Together with the writer and filmmaker Arnold van Bruggen, in 2009 Hornstra started the Sochi Project. The project culminated in the retrospective book An Atlas of War and Tourism in the Caucasus published by Aperture in 2013 and an exhibition that toured Europe, America and Canada.
In addition to his work as photographer, he is founder and former artistic director of the documentary photography organization FOTODOK in Utrecht and head of the Photography department at the Royal Academy of Arts in The Hague.
Rob Hornstra is represented by Flatland Gallery, Amsterdam/Paris.
Arnold van Bruggen is a writer, filmmaker, and founder of the journalistic production agency Prospektor, and a cofounder, with photographer Rob Hornstra, of the Sochi Project. In The Sochi Project, Hornstra & Van Bruggen have been working together since 2007 to tell the story of Sochi, Russia, site of the 2014 Winter Olympic Games. They have returned repeatedly to this region as committed practitioners of “slow journalism,” establishing a solid foundation of research on and engagement with this small yet incredibly complicated region before it finds itself in the glare of international media attention. The Sochi Project was one of the first big journalistic projects to be mostly crowdfunded. Since 2013 the project's exhibition is traveling worldwide and winner of many photography & journalistic awards.
Van Bruggen tries to explore new ways of storytelling by letting the story decide which medium to choose and with which other makers to collaborate on it, whether a traditional documentary like The Russian War or an interactive music documentary on PTSD like Hidden Wounds, or an innovative newspaper/exhibition like On The Other Side of The Mountains