The Polish photographer Kuba Kamiński (*1985) repeatedly returns to Polish Podlesi and to Belarus where he immortalizes the life and work of local healers that call themselves “the whisperers”. Kamiński worked as a war photoreporter for a number of years and this collection of photographs is among one of his most personal projects. The series of black and white photos that combine reportage approach with visual symbolism won second place in The Best of Photojournalism competition and the Polish Grand Press Photo prize.
Shamanesses in the heart of central Europe
The whisperers believe they have a gift from God. They can banish pain, cure infections or remedy infertility. They are seen by people with nightmares, stutters or excessive shyness. By ones who need to avert curses or find peace for loved ones who passed away but whose souls haven’t found rest. Everybody has a different ailment. And each ailment needs a different incantation. The whisperers work through murmurs. Central Europe’s shamanesses follow in the footsteps of old traditions still alive partly due to the fact that Podlesí has always been on the periphery of interest. The historical region located on the Polish-Belarusian border is a place of deep forests where ethnicities, traditions, languages and faiths mix. As revealed by the icons in the corners, Eastern Rite prayer books and cemeteries filled by typical crosses, the whisperers avow themselves to the Eastern Orthodox Church. A church that distances itself from them, because it deems their rituals too pagan-like.
The whisperers cure anyone who asks for their help, regardless of religious affiliation. They only have one condition: the patient must have faith in the treatment. They require cooperation and willingness to use their imagination. The bizarre-looking rituals in which traditional natural materials such as linen, ash or wax are used have a single purpose; to symbolically materialize ailments or evil spirits who will then dissolve in water, dissipate into ash or burn through piece of linen ball placed on the patient’s head. It is first covered by a piece of cloth for the sake of safety. The majority of whisperers are old women, but exceptionally men can be found among them. They receive their regular patients in their homes, on pilgrimage or in other way special places. As a rule they don’t accept payment and refuse to curse or otherwise hurt anyone. They could, but it would be dangerous; curses often return to the one who wishes harm onto another.
The photographer Kuba Kamiński has been capturing Podlesí’s healers for a years. At first he was accompanied by an ethnologist fluent in the local dialect who became his guide. With time young Kamiński, most often carrying a Leica M9 camera, gained the locals’ trust and began returning alone. Kamiński worked as a war reporter for many years and this photograph collection is among his most personal ones. The two part series of black and white photographs that combines photojournalistic approach with symbolic images was awarded second prize in The Best of Photojournalism (2015) and Polish Grand Press Photo (2012) competitions.
Marie Iljasenko, curator
the wild east
old people, like apples on an apple tree, are waiting for the wind
they bury the young under the tree
there the earth will lick them, will lick clean
their wounds like stubble-fields
wounds, his mother told him, his grandmother told him
no one said a word
the others departed more slowly
as if fearing what would be taken from them
fearing they wouldn’t be buried right
hey await anxiously
people in forests were howling, howling long into the night
Kasia Szweda: Bosorka, 2020
(translated by Lynn Suh)
Kuba Kamiński (*1985) comes from Warsaw. As a graduate of photography from Lodz Film School, laureate of the Ryszard Kapuściński award, Grand Press Photo and the Grant Prix price in the National Geographic competition, he is one of the most promising photojournalist of the Polish young generation. He got his start as a newspaper journalist, he worked for the Polish press office PAP and for the prestigious magazine Rzeczpospolita. Today he works at East News agency, amongst others. He profiled himself as a war reporter, known for his reportage collection capturing the war in Libya, annexation of Crimea and the everyday life in Gaza. He is also interested in societal themes, recently he introduced a black and white photograph collection based on Japan’s Tokyo that explores the changing attitudes to work. He is currently still working on his collection The Whisperers that won second prizes in The Best of Photojournalism (2015) and Polish Grand Press Photo (2012) competitions.
Marie Ilyashenko (*1983) is a poetess, writer and editor. Her 2015 debut collection Osip Headed South was nominated for the Magnesia Litera prize, in 2019 she published a collection St. Outdoor. She was nominated for the Dresden Prize of Lyric and the Vaclav Burian prize for her poetry work. She also writes short prose and translates from Polish, Ukrainian and Russian.
She lives in Prague.
Katarzyna Szweda (*1990) is a poet and photographer originally from Low Beskids. She’s a graduate of the Johann Wolfgang Goethe University in Frankfurt am Main. She is a winner of the projects “Połów 2017“ and “First collection of poems 2020” through which her debut poetry collection Bosorka was published.
A group of six distinct personalities of Czech photography drew inspiration from the cross-country skiing competition Jizerska 50 that became the motive of their collective exhibition, each capturing the event through a unique visual conceptualization.
VIRTUAL TOUR TO THE EXHIBITION HERE
Jan Sibik (*1963) captured the event with his characteristic reportage style, although he has never actively pursued sport photography before. His black and white photographs treat the event as a story of a competition filled with struggles and joys experienced by its contestants. Quite the opposite, Marketa Navratilova (*1972) specializes in sport photography; she knows exactly which angle to use to create an emotionally charged photographic narration able to capture the unique dynamic of this winter sport. Jiri Langpaul (*1974) is the only one of the six who has been photographing Jizerska 50 for a number of years. He repeatedly returns to Jizerske mountains to take portrait photographs of the contestants; some of them amateurs, professionals, men and women of all ages and performance categories. Unlike Langpaul, Tomas Vocelka (*1965) perceives Jizerska 50 as a whole from a birds-eye view enabled by photographing from above from a small sport airplane. This gives rise to very strong compositions where the zigzagging snake of contestants forms a compact image with the surrounding nature. Daniel Hustak (*1990) has an entirely different approach to photography. He composes the overall feeling from singularities, maybe even redundancies, from small items and minimalistic aspects that all together form the competition. His photographs are visually minimalistic, very clean and devoid of any concrete people. The last artist of the six is an distinct personality of nude and fashion photography. Lukas Dvorak (*1982) doesn’t photograph at the event of the competition, he seeks to capture his perception of the race through the beauty and perfection that is a woman’s body; a body full of life and energy, life and energy which can also be found in each and every one of the contestants of this difficult and beautiful race.
A retrospective exhibition of the Czech photographer Milon Novotny who would have celebrated his 90thbirthday this year. Novotny, who died in 1992, is considered a pioneer and outstanding representative of the 20th century Czech humanistic photography. Novotny was a photographic poet of everyday life, seeing and capturing deep human contents in seemingly banal scenes.
Free Cinema is a talent and education company that has been hosting successful film, animation and photography courses and workshops across the Czech Republic for eight years. One of the programmes that the company offers is a course of analogue photography for children called Little photographers. The idea that lead to the course’s creation four years ago was to teach children to think about photography and not to furiously and thoughtlessly press the shutter, like many do when taking pictures on a smartphone. Tereza, Alexandra and Bara, film studies classmates and avid photographers, familiarize children with analogue photography, traditional cameras, funky plastic Lomography cameras or with wood camera sliders. They teach the little enthusiasts how to load film into the camera, how to set up the aperture, how to focus correctly, but first and foremost they teach the children how to slow down – to sit in front of the photographed object and think about whether everything is visually pleasant enough for a unique photograph to be created. If so, children further think about how to construct the particular photograph in terms of composition and their own feeling.
Photography is a process worth enjoying fully from the beginning to the end. That is why the lecturers place emphasis on the creative process and give the children the space to relish it. This process is further supported by the characteristics of analogue photography which demands patience in the form of waiting for the final photograph for a number of days. In some ways, the final product is secondary. To experience analogue photography fully is to be to be cognizant of the present, to examine one’s surrounding, to discover the moment’s magic and to wait. “It sometimes happens that a child returns with a camera within five minutes saying they’re done. What we do is we give the camera back to them, telling them that they have plenty of time but that they can only take a single photo. Just one. The little photographer then thinks harder about what to photograph. Then we ask what they photographed and why, and through that we can already estimate what will be the photograph’s atmosphere and message. We then discuss this with the child,” says a lecturer about the process of photography that takes place during the course.
The child doesn’t learn how to correctly set up the time or aperture during the three hour course, that takes more opportunities to gain experience, but they do learn how to slow down and think during the creative process. How to come closer, how to broach a conversation with an interesting stranger we would like to photograph, how to think about composition, light and shadows. With analogue photography, each press of the shutter results in a single photograph and the children are aware of the difference between this and photographing digitally, where they can pick the best photo out of twenty similar ones and discard the rest through pressing a button. Often the children rewind the film incorrectly or expose it to light which teaches them that in analogue photography success is never guaranteed.
Children are overwhelmed by mostly perfect photographs from the internet – for example from Instagram, if they’re allowed to use it. In Little photographers course children are encouraged to find uniqueness and beauty in imperfection.
In the second half of the course the children get to try working in a dark chamber and exposing photograms. Through this they learn that the process of photography is nowhere near finished when they press the shutter.
Lecturer Tereza is currently working on a book that will guide children through analogue photography with more detail.
The “Family Portrait” photographical project has gained social significance over the years. It portraits personalities form the fields of cinematography, architecture, politics, education, healthcare, sport, business and so forth. For Stanko the inspiration isn’t so much the models’ profession, but the psychological side of being immortalized; Stanko’s motivation is mainly the models’ interest to open themselves up to the photographical performance as a prerequisite for a depiction without excessive self-control.
Family portrait is a project that came about untraditionally – the composition of figures is captured through a series of mirrors by which an illusion of a different, overturned space is created. The end result is a black and white unedited photograph signed by the author resulting in a standalone art work.
The intentional coupling of two levels of content – one being a stylized composition, other a real space immortalized in time – further enriches the captured moment. Especially so through the overlap of the two content planes via the author’s specific creation process. The aim of the project is to create a holistic image of the older generation’s society as represented by famous personalities and everyday people of artists’ and other professionals’ current families. The voluntary participation in a stage performance or self-capturing signals the conviction that despite some risk it is worth it to undergo a manipulation of oneself by the author for the sake of a progressive reflection. The motivation is the curiosity of the figurants to get to know themselves as different than previously thought, even if the price to pay is the loss of self-critical control. This motivation will allow the photographed to come to terms with the fact that their unusual display can reveal new ways of looking at themselves.
The core theme running through the entire project is the fact that at the time of photographing the deciding factor isn’t a social undertone, personality of the photographed or “little societies” of certain professions, but the psychology of self-perception. In each image a question is asked; whether the person can withstand the unusual role of an actor.
Through his carefully prepared exhibition collection, Vasil Stanko makes it clear that art has not yet given up on expressing stories through the classical genre of group portrait. Evidently he feels that bringing back the tradition of photographing families isn’t necessarily backwards, however Stanko’s work did not stagnate within the confines of the hereditary theme.
Stanko’s collection begs the question of what form his work is based on. Stanko’s compositions aren’t casual improvisations or capturing spontaneously occurring events. Vasil Stanko prefers purposeful creation – in cooperation with the ones photographed, Stanko organizes live images whose reflections he captures through the system of mirrors, only to then finalize and unite the image with his signature.
The point of interest of contemporary artistic photographers is subjectivity, perhaps at times at the expense of straightforward observation, a method used for austere witness testimony. If an author uses multicolored or monochrome stylization, it is a free choice representing his distinctive will and artistic touch. Current technology has ceased to be a limitation predetermining the parameters and special effects of an image. However Stanko’s goal aren’t the optical effects themselves, his intention is to achieve the most creative image possible. With a feel for the content, Stanko depicts the posing personalities and captures the space they’re posing in. He follows his own vision as well as the reality of the subject photographed. That is why Stanko’s work can appeal to a wider audience and at the same time meet the personal representation needs of the photographed subjects; the need to be immortalized via a medium of lasting value.
Stanko understands family as a cohesive collective, playing a foundational role within a wider community. In this respect, the photographical project has gained social significance over the years. It portraits personalities form the fields of cinematography, architecture, politics, education, healthcare, sport, business and so forth. For Stanko the inspiration isn’t so much the models’ profession, but the psychological side of being immortalized; Stanko’s motivation is mainly the models’ interest to open themselves up to the photographical performance as a prerequisite for a depiction without excessive self-control.
With digital technology granting a wide array of people the opportunity to enter the public space, a greater emphasis is placed on serious photographical messages, at least from the more refined and demanding audiences. Seeking superficial souvenirs made to show off within the Family Portrait ensemble would be in vain. They don’t hold value in the artistic sphere. It is no wonder that the overall impression of Stanko’s collection remains urgent. After all, Vasil Stanko has been cultivating a cultured suggestion of intimacy since his early work in portraits, nudes and other genres that he connects with his newer work again and again, as can be seen in his monograph from 2002 conceptualized alongside with the theorist Vaclav Macek or in his retrospective book catalogue of the Slovak New Wave: The 80s published by Tomas Pospech and Lucie F. Fiserova in 2014.
The finishing touch to our impression will be the intersection of all components of the author’s message…
17. 3. 1962 in Myjava, Slovakia
1977 – 1981 High school of Technology and Art in Bratislava, department of photography
1981 – 1987 Academy of Musical Arts FAMU in Prague, department of photography (prof. Jan Šmok)
Freelance photographer since 1987.
2011 – 2012 external pedagogue at FAMU, department of photography.
Since 2012 external pedagogue at private Higher professional art school Michael.
Long term co-operation in photography with Benedikt Rejt Gallery in Louny, Barrandov Studios and Prague Castle Administration.
“Couple’s nude”, 1985; “Tribute to personalities and important events”, 1989; “How to treat native people”, 1990; “Silhouettes and contours”, 1991; “Catch XXII”, 1992; “Half inward half out”, 1993; “Silhouettes and contours 2”, 1993 – 1994; “Fables and sayings”, 1995; “Legs and legs and stories”, 1996; “Attic”, 1996 – 1997; “Theatre in mirrors”, 1997; “Lovers of the year 2”, 1998; “A person and a prop”, 2001-2003; “Attic 2”, 2007; “A family project”, 2012 – 2013
So far Stanko has had 30 solo exhibitions nationally and internationally and his work has been exhibited in more than 170 group exhibitions and projects, both across the Czech Republic and abroad.
Stefancikova, A. – Vasil Stanko, How to treat indigenous people, Kvadrata Prague, 1991
Menkman, L. – Fabulous! V. Stanko, M. Svolik, R. Prekop, Voetnoot VRM, Antwerp, 2002
Macek, V. – Vasil Stanko, D. Freidlaenderova, S. Friedlaender, Prague, 2002
Prague castle, representation spaces, Prekop, Stanko, Prague Castle Administration, Prague, 2001
Barrandov Studios, Location guide, Prekop, Stanko, Barrandov Studios, 2006
Vasil Stanko, Stories backwards, Print Design – Production, Prague, 2008
Cooperation with Gemaart and Pecka Gallery 1995/2005 and cooperation on publication of visual artists: Theodor Pistek, Alena Kucerova, Jiri Sopko, Jiri Kolar, Jan Svankmajer, Jiri Trnka, Mikolas Galanda, Alena Bicovska and others in co-operation with Benedikt Rejt Gallery in Louny.
Vasil Stanko’s long term partner is the company slachta.gallery s.r.o., which takes care of scanning, printing and framing his exhibits and also takes care of the artist’s portfolio.
Michael W. Pospíšil was born in 1955 as a Czech and later also accepted French citizenship.
As a child he acted in multiple important czech films, such as in Vojtěch Jasný’s When the Tomcat Comes and in Karel Zeman’s The Stolen Airship.
After graduating from the prestigious Film Academy of Performing Arts (FAMU) in 1980 he moved to France to live with his french wife Marie-Paule.
There he worked as a director, producer, scriptwriter, editor and director of photography for french TV stations, various large companies and state offices. In 2000 he began his career in cultural diplomacy when he became the director of the Czech Center in Paris (2000 – 2007 and 2011 – 2016) and in Sofia (2007 – 2009) and later became the general director of the Czech Centre network (2009 – 2011). In 2005 he was awarded The French Order of Arts and Letters.
In 2016 Michael W. Pospíšil returns to Prague – in total he lived 31 years in France and 31 years in the Czech republic.
Photography has been his passion since early childhood. After multiple exhibitions in France and Czech republic, this year marks his first photography monograph Paris, Prague, etc… published by KANT. It is a selection of images from the last seven years, predominantly from Paris and Prague, but also from other cities and countries.
The exhibition Paris, etc… shows a collection of photographs from Paris. Simultaneously the French institute in Prague is exhibiting a collection of photographs titled Prague, etc… (from May 19th till July 4th 2020).
This autumn Michael W. Pospíšil will introduce a large exhibition Paris, Prague, etc… in the G 4 gallery in Cheb.
Michael sees more than most people. His photographs of the city’s hidden corners, patterns on flaking walls, fleeting encounters in bars and cafés, multiple street scenes reflected in windows, or seemingly ordinary objects and things that we pass without noticing possess not only unquestioned artistic value, but also provide the viewer with room for personal interpretation. Although Pospíšil does not deny his education as a documentary filmmaker nor his experience with humanist photojournalism, some of his images are quite abstract. Pospíšil’s photographs can also be described as distinctive journal entries through which he has found a way of sharing his worldly experiences. This unique book of distinctive color and black-and-white photographs also features an interview with their equally remarkable and distinctive creator.
(Prof. Vladimír Birgus)
“I began photographing the autoportrait series in 2012 when I first started experimenting with levitation and surreal photography. I was attempting to visualize my relationship with nature and how I feel when I’m in it. Gradually I started to broaden the concept of the portraits. One time I found an old TV by the trash cans and I decided that I will put it in place of my head. I wanted to point out that the outside world offers the best television programme I’ve ever heard of and it indicates my position on television broadcasting in general. In time, the TV completely fell apart, so I knew I’d have to mend it up and exhibit it somewhere; for me it’s a legend. I collect old phones, old mirrors and I always want just one thing for or from them; to put them back in the game for at least a while through an interesting photography. I like this type of photography because it’s the best way to let off steam and it can also be a challenge. I like to push my boundaries, sometimes I’m poignant in pointing something out and I’m always amused by the end result. If I had to say which autoportraits entertain me the most, it’s definitely the ones where I am by the side of my dog love, Boony.”
Petr Hricko was born in Teplice in 1976. His journey towards photography is an unexpected one. As he was twenty-seven years old, he was told he has cancer… When he was staying in the hospital, one of his friends brought him a camera to distract him and that was the moment. Hricko began learning how to photograph and slowly started forgetting about his illness. It was the best therapy one could imagine. Later on, when he was leaving the hospital, he knew that he would never stop photographing. He found a new life style. Ever since 2012, Hricko photographs professionally.
Amongst his favourite subjects of photography are nature, levitations, stories or capturing the atmosphere of the street.
If you’ve ever come across Hricko’s work, it’s very unlikely you’d mistake it for someone else’s. The characteristic light blue overtone of his photographs, magical atmosphere seeping from the images, the captivating expressions in the eyes of the subjects and the unbelievable outlook into nature’s beauty. That’s the world how Petr sees it through the viewfinder of his camera, and it won’t leave you without an emotional response.
When you go to see a ballet performance at the National Theatre, you’re mesmerised by the beautiful ballerinas and dancers. They move around the stage with a smile, grace, elegance and confidence. But have you ever considered how much sweat, work and pain is behind the performance that plays before your eyes? This exhibition brings an insight into the backstage of our most important ballet ensemble.
Martin began photographing ballet in 2010 through a high school friend. At that time Prague’s National Opera needed a photographer to immortalize the Sleeping Beauty production. Martin comments this by saying; “I’ve never photographed dance or ballet before, but I like trying new things and I found myself really enjoying it. Especially if one can witness how much work ballet really is, one really wants to give them a round of applause! Later on, I got the opportunity to work with the Ballet of the National Theatre. To me it’s fascinating to see the creation of the productions, to see the hard work of the dancers who are basically making a living through their hobby. Most people say to themselves; we’re going to the theatre. But no one realizes that it’s not only a group of enthusiasts dancing on the stage, it’s also a group of professionals who have been working hard since their childhood to be able to dance in such an important ensemble. I like theatre backstage, that strange magic that parts of the theatre that aren’t open to the public have.”
Martin Divisek was born in Prague on the 11th of May, 1985. He became an avid photographer in elementary school and a few years later his grandfather bought him the classical Exa SLR film strip camera.
He graduated from the Secondary Industrial School of Communication Technology and later spent a few years studying at the Higher Vocational School of Journalism. During his studies, he contributed to the Šíp journal. In 2006, he began working in Prague’s Central Publishing House for Regional Journals that covered news regarding mostly politics, sports and culture. At this moment, he also photographs for the international journalistic European Pressphoto Agency. He has worked closely with the Ballet of the National Theatre for over eight years.
He likes to spend his free time in the nature or at the mountains. He is married and has a son.
2011 – Czech Press Photo, Special Recognition in the “Sport” category
2013 – Czech Press Photo, 2nd place in the category of “People who are talked about”
2014 – Czech Press Photo, Audience Award and Special Recognition in the “Reportage” category
2015 – Getty Images European Editorial Awards – 3rd place in the “News Portfolio of the Year” category
2016 – Czech Press Photo, finalist nomination in the “Current’s Day Problems” category
2018 – Czech Press Photo, finalist nomination in the “Culture and Arts” category
Dalibor Indra’s photographs represent a selection of typical truck driver images that the author collected during the last two years of travelling by bus. It’s only when riding a bus is a person sat high enough to be able to look the truck drivers in the eye. Through photography we have the opportunity to peek into otherwise inapproachable and intimate world of strangers. Into a world that balances between the adventure of lands far, far away and immense boredom and solitude of a long ride.
Indra’s photographs aren’t a sociological research piece based on the author’s long lasting interest in the world of truck drivers. The look into the driver’s cabin surprisingly brings about many aesthetically impressive details – the shadows and reflections painted on the drivers’ faces, secondary reflections created by the road, cars and the surroundings – all of this establishes a captivating play within the images. All it takes is to focus for a bit and start to play.
The outlooks into the drivers’ cabins are accompanied by images from the rest areas, where the multi-ton colossi turn into a temporary hotels on wheels. This creates a unique place with an unmistakeable environment. The drivers can all of the sudden communicated differently than just through walkie talkies. They pull out their camping chairs and gas burners, refill their drinking water and collect their strengths to complete the next bit of their journey. It’s a form of a camping site, only the surrounding lakes and forests are replaced with highways and ruined countryside.
Dalibor Indra (*1996) completed the General Grammar School in Brno in 2016, and it was during his studies that he developed his interest in photography. In 2014 he began frequenting the Photogenia Photographic Institute which helped him direct the course of his work. He’s been studying at the Advertising Photography Studio at Tomas Bata University in Zlin since 2016.
The work of Dalibor Indra has a documentary aspect to it, yet we can see a fascination with the modern society and its influence on the outside world. After the author finds a suitable topic, he then spends a long while developing it and working on it. Especially noteworthy is the author’s unmissable approach to the topic at hand.
Who are we and what shapes us? We, Czechs, like discussing politics in a pub with a mug of beer which tastes so good with ‘svíčková’ and dumplings or with good smoked meats. At weekends, we like going out to the cottage and do some barbecue and, of course, mushroom picking. We have the best hockey in the world; we are in the first place in oilseed rape growing, and the ‘golden Czech hands’ can do anything. At Christmas, Czech carps from Czech ponds are a must and on New Year’s Eve, there must always be a special open-face sandwich. And all of this is washed down with beer – yes, a Pilsner, of course. A real Czech ‘Turkish coffee’ is the culmination of an exotic experience. Sometimes, we recall ‘Father Masaryk’ and the First Republic. Yes, everything was better at that time; people were better; beer cost less and we loved each other much more. And all above that, there is the Czechia for Czech People slogan (which is so much popular with right-wing extremists) which stands for that we definitely do not want to share Czechia with anyone!
In my set of photographs, I reflect on the Czech society in an ironic, funny and visually transparent way. It is not about criticism or evaluation because I am part of that society, too! I show what we are like only through the unofficial national symbols and stereotypes which define us. My objective was to create a visual essence of ‘being Czech’ or a promo for the Czech society. All of this with humour and easiness – after all, it is another national symbol of Czechs that we like making fun of ourselves.
I studied photography at the Vocational Training School of Services in Prague-Vysočany under the guidance of Doc. Aleš Kuneš. After graduation, I started studying at the Institute of Creative Photography of Silesian University in Opava where I am about to complete my Master’s degree programme. I have been working as a teacher of photography at SŠ-COPTH, for the students of Photography. Besides teaching, I am also involved in minor photography works for various customers.
My production is hard to categorise in a specific genre, but I always seek to work with straightforwardness and transparency of photographs and with a pure visual form. I like playing with absurd topics about us, Czechs.
My works have been displayed at various venues, e.g. at the Festival of Photography in Blatná, in the House of Arts in Opava or at the PraguePhoto exhibition.
(CV) Petr Cepela (*1961) graduated from the Faculty of Electrical Engineering of the Czech Technical University in Prague. Later on he began working in the field of computer graphics and information technologies. Currently he collaborates with various different media as a photographer.
Photography fascinates me by the range of themes that I can pick and choose from depending on my mood and needs. One of my favorites is to capture the magical atmosphere of a city and its life. That’s why a backpack filled with photography gear is my trusted travel partner. This year’s summer visit to France yielded this series. Whenever I look at it, I travel back to the place and moment of pressing the shutter………
M. A. Martin got into making photographs at the age of ten. To this day, he has always stuck to film photography in medium format for shooting, and then finalises his pictures himself on a digital printer.
Along with creating several photo workshops in various places, he has been involved in running two such clubs in his region for many years now.
He was born and grew up in the north of France, a land with open horizons, a land of wind and cloudy overcast skies. This territory left its mark very early on his childhood which he lived close to nature.
It is from this very Nature that Michel Arthur draws his inspiration, in search of bewitching atmospheres and unique lights.
He tries to capture the essence and the poetry of those large spaces devoid of human presence,the emotion of those suspended moments, the dreamlike character of lands of shadow and light.