An image of a freediver examining the aftermath of modern whaling has seen Swedish diver Alex Dawson named Underwater Photographer of the Year 2024 – beating 6,500 other entries from around the world.

“Whale Bones was photographed in the toughest conditions, as a breath-hold diver descends below the Greenland ice-sheet to bear witness to the carcasses,” said judging panel chair Alex Mustard of the shot, which topped the Wide Angle category. 

“The composition invites us to consider our impact on the great creatures of this planet. Since the rise of humans, wild animals have declined by 85%. Today, just 4% of mammals are wildlife, the remaining 96% are humans and our livestock. Our way needs to change to find a balance with nature.”

Whales dominated the winning pictures this year, with Spanish photographer Rafael Fernandez Caballero winning two categories with a close-up of a grey whale’s eye and an action shot of a Bryde’s whale engulfing a bait-ball, both taken in Magdalena Bay, Baja California, Mexico. 

Lisa Stengel from the USA was named Up & Coming Underwater Photographer of the Year for her image of a mahi mahi catching a sardine, also in Mexico.

“It is such an exciting time in underwater photography, because photographers are capturing such amazing new images by visiting new locations and using the latest cameras,” commented Mustard. “Until this year I’d hardly ever see a photo of a mahi mahi. Now Lisa has photographed one hunting, action that plays out in the blink of an eye.”

The Underwater Photographer of the Year (UPY) contest is an annual competition based in the UK, and Jenny Stock was named British Underwater Photographer of the Year 2024 for her Star Attraction, finding beauty in often overlooked brittlestars.

Meanwhile Portuguese photographer Nuno Sá was named Save Our Seas Foundation Marine Conservation Photographer of the Year 2024 with another whale shot, this one topside. His Saving Goliath showed beachgoers in Portugal trying to save a stranded sperm whale. 

Celebrating photography beneath the surface of the ocean, lakes, rivers and even swimming pools, UPY is judged by Mustard and fellow experienced underwater photographers Peter Rowlands and Tobias Friedrich. The winners were announced at a London award ceremony that recognised the top three images in each of the 13 categories – below are the outright winners in each one:

Wide Angle / Underwater Photographer of the Year 2024

Whale Bones / Alex Dawson

Swedish photographer Dawson captured the striking image shown above at Tasiilaq, eastern Greenland, where hunters bring their catches and share them out. From a stable population of more than 100,000 minke whales in the North Atlantic, they typically take fewer than a dozen. 

The whale is pulled up on the beach at high tide and many families gather to cut it up at low tide, consuming almost all of it. The skeleton is pulled back into the sea by the next high tide and marine invertebrates and fish pick the bones clean in the shallows.

“A very arresting image right from the start; for me this got bigger and better with every viewing,” said Peter Rowlands. “The diver’s suit and torch give it a ‘visiting alien’ feel, the composition flows effortlessly and takes your eye on the right journey to tell the story.”

(Taken with a NikonZ7 II + 8-15mm fisheye, Nauticam housing, natural light. f/4.5, 1/60th, ISO 500)

Macro

Abstract Portrait Of A Potbelly Seahorse / Talia Greis

“I was drawn to this particular seahorse because it had especially distinguished markings around the eye, and the jaw-dropping colour palette made a striking contrast with the surrounding coral,” says Australian photographer Talia Greis, who was diving at Bare Island. 

“While seahorses are not rare on Sydney dive-sites, photographing one that can really stand out has always been a dream for me. I chose to open the aperture all the way down to f/3.5, which transformed the coral into an out-of-focus cloud-like effect, but also embraced the ominous green waters of Sydney summer diving. 

“To me the seahorse’s striking red eye and posture conveys power and strength, arising from the smoky underbelly of the ocean.” 

“We love how the photographer captured the character of both the secretive seahorse and the murky waters of Sydney in this picture with excellent use of light, a striking colour contrast and an inventive composition,” said Alex Mustard. “Beautiful.”

(Taken with a Sony A1 + Nikon 60mm Macro with Monster adapter, Isotta housing, Inon strobe with backscatter snoot. f/3.5, 1/200th, ISO 200)

Wrecks

Chieftain Tanks / Martin Broen

US photographer Martin Broen had been competing in the first Aqaba underwater photo competition in Jordan. The underwater Military Museum site features war machines sunk in 15-28m, stationed along the reefs in tactical battle formation. 

“I wanted to capture the symmetry of the Chieftain tanks and strong presence of their 120mm guns, but the position where I could shoot that image with my fish-eye lens was occupied by a military ambulance,” he says. 

“Therefore, I experimented with a six-shot panorama from a point between the guns, which allowed me to recreate the virtual position further back, and achieve an elegant symmetry of the tanks, supported by the central focal point of my dive-buddy in the back.”

“This worked for me in a big way and still does very much,” said Rowlands. “The panorama choice – position and lens – emphasises the barrels and the twin-torch model could be a support helicopter. 

“The skill with panoramas is envisaging the end result. This powerful image works on several levels and was my clear favourite in this category and overall. In today’s troubled times, it is uplifting to see the apparatus of war put to peaceful use.”

(Taken with a Sony a1 + Canon 8-15mm, Nauticam housing, two Big Blue 33000 lumen strobes. f/9, 1/100th, ISO 1600)

Behaviour

The End Of A Baitball / Rafael Fernandez Caballero

The Spanish photographer was diving in the open Pacific waters of Magdalena Bay at La Paz at the end of 2023 at which time, he says, warmer El Niño water had encouraged more species than ever to join the hunt. 

“The main stars of the show, visiting Baja in perhaps larger numbers than ever, were the Bryde’s whales,” he says. “This photo shows the very moment of attack, with the whale’s ventral pleats wide open and filtering the prey from the water using their baleens after engulfing hundreds of kilograms of sardines in one bite – simply unforgettable.

“Absolutely jaw-dropping – pun intended,” commented Rowlands. “Perfectly posed and composed at the peak of the action with sunshine highlights, this image leapt out and we never tired of admiring it. Big subject, big image, big winner.”

(Taken with a Nikon Z9 + Nikkor 14-30mm f/4 S-Line, Isotta housing, natural light. f/10, 1/400th, ISO 640)

Portrait

Grey Whale Connection / Rafael Fernandez Caballero

Caballero says that encounters with grey whales in Pacific saltwater lagoons are extremely special, and this interaction also occurred in Magdalena Bay.

“Known for their friendly and curious nature, grey whales often approach boats, allowing observers to witness distinctive behaviours like spy-hopping,” he says. “This photo was taken from the boat, where the whale displayed a friendly gaze toward my camera, resembling a human look of curiosity and innocence. 

“During their migration from the Bering Sea to Baja California, these lagoons serve as crucial havens and winter maternity wards. With only around 1,300 grey whales left, responsible practices of ecotourism are key to protect these giants. 

“These special moments highlight the beauty and intelligence of the whales, creating enduring memories for both observers and, surely, the curious whales themselves.”

“Few people have ever gazed into the eye of a whale, but through this remarkable image many will be able to catch a glimpse of this intelligent soul,” commented Mustard. “A ground-breaking underwater portrait.”

(Taken with a Nikon Z7 II + 8-15mm, Isotta housing, no lights, f/11, 1/250th, ISO 360)

Black & White

Water Dancers / Jasmine Skye Smith

“This image was from a creative shoot from my first underwater portrait exhibition Underneath, held in August 2023,” says the Australian photographer, who took the picture in Perth. “I approached some girls from the synchronised swimming team to do a shoot and I booked the heated dive pool as it was our winter. 

“I was expecting to be using the 3m depth side but at the last minute they said we would be using the 5m end, which was amazing to play with in such a controlled environment – but also came with the challenge of a slanted edge down the bottom.” As a result it proved very difficult for the photographer to keep the black backdrop in place with her usual weights. 

“The two 6 x 3m backdrops only held in place for a few minutes before coming apart – and this was one of the magical captures in that short window.” 

“Black and white! A minimalist composition that invites us to compare and contrast the two halves of this intriguing frame,” said Mustard. “Fantastic teamwork between the photographer and the two elegant models.”

(Taken with a Canon R6 + RF 15-35, Aquatech housing, natural light. f/3.2, 1/320th, ISO 2000)

Compact

Nudi On Fire / Enrico Somogyi

This picture of a Hypsolodoris apolegma nudibranch with an emperor shrimp on its head was taken in Tulamben on Bali, Indonesia by the German photographer. To create the fire-like background he built a special tool. “It took me a long time to get it to work,” he says, but in the end he got the picture he was looking for.

“This shot seems to have it all,” commented Mustard. “A nudibranch on eggs, with a commensal shrimp on the nudibranch, all set against a golden explosion of light. Enrico once again shows that having a compact camera at the heart of his system is no limitation to producing stunning underwater images.” 

(Taken with a Sony Rx100vii + Nauticam Emwl 100, modified Fantasea housing, two Backscatter MF1 strobes. f /11, 1/2000th, ISO 125)

Up & Coming

Window Of Opportunity / Lisa Stengel

US photographer Stengel had spent what she described as an exciting week looking for bait-balls in Pacific Mexico’s Magdalena Bay. “The season’s unique water temperatures kept the marlin farther from reach, but brought an interesting phenomenon: an unprecedented amount of mahi mahi,” she says.

“I chose not to wear a hood and noticed a distinct noise from the bait-ball every time the mahi would attempt to hit a target. If you listen closely, there’s an enormous amount of sound in the ocean, especially surrounding bait-balls. 

“I honed in on the sound of mahi attacks and followed this unmistakeable sound with my camera. This technique, coupled with serendipitous conditions, gave me the window of opportunity to capture this special moment.”

“What a moment!” said Mustard. “This is a phenomenal action photo, capturing high-speed hunting at the decisive moment. Definitely one of the most remarkable images in the contest and we love how Lisa used all her senses to capture this amazing photo.”

(Taken with a Sony A7RIII + FE 16-35mm F2.8 GM, Nauticam housing, natural light. f/6.3, 1/3200th, ISO 1000)

British Waters Wide Angle

Divebomb / Kat Zhou

The US photographer captured this shot on a trip to dive with northern gannets in Shetland. “The experience of being amidst dive-bombing gannets is both chaotic and adrenaline-fuelled, and it was hard to choose where to aim my camera!

“I tried to photograph any bird that zoomed by, and I was pleasantly surprised when I later saw how this shot was able to depict the dynamic motion of the experience.”

“There is an amazing sense of purpose in the eyes of these gannets as they dive into the chilly waters in search of food,” said Mustard. “The judges also loved those bubble-rings that show the energy the birds are exerting during this underwater hunt.” 

(Taken with a Nikon D850 +  8-15mm fisheye w/ Kenko 1.4x teleconverter, Nauticam housing, Inon Z330 strobe. f/11, 1/250th, ISO 400)

British Waters Macro / British Underwater Photographer of the Year 2024

Star Attraction / Jenny Stock

“Loch Leven is a Scottish dive-site near Oban that can be can easily be accessed via a lay-by on the A82,” says the UK photographer. “Once there, a walk down a steep leafy track will lead you into the ‘refreshing’ water. 

“As I descended into the dark green depths of the sea loch, on a dusk dive, I approached an area where my torch picked out the vivid colours of a living carpet of thousands of brittlestars.

“Captivated by the variety of hues and patterns each star took, I felt this was an incredible encounter with a species I’d never seen before. I was happily snapping away when I spotted this purple sea urchin and I got really excited. 

“A dominant star next to this graphic invertebrate created a beautifully balanced pair, perfectly surrounded by an entanglement of the background brittlestars.”

“This is a celebratory British image on many levels – a full-frame carpet of vibrant, healthy marine life with complementary colours, well composed and very original,” said Rowlands. “Subtlety is a gamble in competitions but this one paid off and appealed to all the judges alike.”

(Taken with a Canon 5D5D IV + 100mm, Nauticam housing, Retra strobe. f/10, 1/125th, ISO 100)

British Waters Living Together

Bottled Blenny / Kirsty Andrews

“Butterfly blennies naturally choose abandoned whelk shells as their home but it seems they can get creative,” says Andrews, who took her winning photo in Cornwall. “On the seabed of the river Fal, among beautiful pink maerl, many have chosen to use discarded glass bottles as a shelter. Waste not, want not.”

“Characterful and cute, this rare blenny is perfectly framed in its new home inside a glass bottle, with amazing eye contact that just grabs our attention,” said Mustard.

(Taken with a Nikon D500 + 60mm, Nauticam housing, two Retra Pro strobes. f/11, 1/250th, ISO 200)

British Waters Compact

Catshark In Bootlace / Jon Bunker

“The bootlace weed can sometimes completely blanket the pebbles overlooking the reef at Chesil Cove in the summer,” says Bunker of his Dorset shot. “Scores of catshark, cuttles, young conger and other night-time predators patrol this seasonal ‘jungle’ slope, happy to snack on whatever comes their way. 

“This sleepy catshark was, as you can see, unsure what to make of me, poking its head tentatively through the weed to establish if I was either threat or food. While it was considering this, I managed to play around with my strobes a little in an attempt to diffuse some of the light through the tresses of early summer algae. 

“My subject let me to take three shots before swimming off into the night.”

Rowlands considered the photograph “a delightfully observed and well-lit image of an iconic British subject more often photographed full-bodied in the open but this has a much stronger photographic appeal and I would have recaptioned it ‘Food or Foe’. The back-story confirms that it soon decided: Foe.”

(Taken with a Sony Rx100 M5A + 19mm equivalent with Inon UWL-H100 dome, Nauticam housing, two Inon s-2000 strobes. f/11, 1/60th, ISO 100)

Marine Conservation / SOSF Marine Conservation Photographer of the Year 2024

Saving Goliath / Nuno Sá

The Portuguese photographer captured this image at Fonte da Telha in his home country. “The golden beaches of Costa da Caparica, just across the river from Lisbon, were packed with sun-seekers on this sunny day, and then something unusual caught their attention on the horizon,” he says.

“A massive sperm whale seemed to be struggling to swim as it slowly moved towards the coast. Soon its giant wounded body was passing by surfers and swimmers and reaching the shallow waters of the beach. 

“But suddenly dozens of sun-seekers start running towards the whale. Together they push and chant, trying to help the giant back into the sea, as it slowly slaps its tail back and forth, and breathes heavily. 

“Several hours later the whale takes its last breath, its body crushed by gravity as it lays on the sand. An estimated 20,000 whales are killed every year, and many more injured, after being struck by ships – and few people even realise that it happens.”

Rowlands commented: “This isn’t supposed to be an easy category to view but this has a pleasing element visually, which created a feeling of confidence until I read the caption and found that all that hope and all that effort, from both sides, came to nought. It’s sad, so sad but it works on several levels.”

(Taken with a DJI Phantom 4 PRO + 24mm. f/11, 1/100th, ISO 400)

See all the Underwater Photographer of the Year top three category winners and judges’ comments at the UPY 24 website. You can also download the complete 2024 Yearbook.

Also on Divernet: UPY celebrates 10 years of photo competition, Pink dolphin smile for Underwater Photographer of the Year, Whale shark triumph at UPY 2022, Sharks’ Skylight brings UPY victory

Movies can be a fertile ground of inspiration for photographers looking to improve and find meaning in their craft. Since cameras are used in photography and cinema, they share technical aspects in image-making such as lighting, composition, exposure, and post-processing. As visual tools used to portray reality, fiction, or a mix of both, photos and films are also used to reflect on concepts surrounding history, memory, identity, humanity, and more. In this list, various filmmakers from Europe, Asia, and the United States offer visual inspiration and introspective views on the art of making pictures.

1. For Contemplating Memories Through Photography: Sans Soleil 

Chris Marker’s 1983  experimental docu-film Sans Soleil is an audiovisual diary of an unnamed narrator who has traveled to Japan, Guinea-Bissau, Iceland, San Francisco, and Cape Verde. As the vignettes of these locations unfold, the narrator ponders on memory and history in a poetic and personal manner. Most people take photos to capture memories for posterity or, in the words of Roland Barthes, to capture that-has-been. From the memorable to the mundane, a moment can be immortalized by a camera. Those who enjoy documenting their travels will get inspiration from how the film captured the locations and its locals and how individual experiences connect to the larger history.

2. Capturing Cityscapes: News From Home 

Solitude permeates Chantal Ackerman’s 1977 documentary film as she reads her mother’s letters against the backdrop of New York City. Her mother’s correspondences are almost consistent, at times reaching a point of overwhelming concern.

Through long takes, timing, and color grading, Ackerman paints the city with a more somber patina. New York’s intrinsically frenetic energy still peeks through, but in Ackerman’s eyes, the city feels slightly different and more personal.

Photographers will appreciate how a place can be depicted as a character and a metaphor for a relationship. The long takes are also delightful to watch; they allow time to observe minute changes in the urban geography. See how everything slowly breathes in this film: the pacing, the city, the words, the loneliness.

3. Defining Beauty: Claire’s Camera

The camera in the title is an easy appeal to photographers who will learn so much from Hong Sang-soo’s 2017 film. In this story, the titular Claire and her metal blue polaroid unspool a web of relationships between the three South Koreans (Man-hee, Director So, and Yang-hye) she met during her sojourn at Cannes. Her photos are used not only as a conversation topic but also as a supplemental language that connects the non-native English main characters.

Aside from taking pictures, Claire’s Camera has an underlying theme of recognizing beauty. From offhanded comments to in-depth discussions, characters often express how beautiful something is; for instance, the sleeping dog on the pavement, a quote from a book, Man-hee’s singing voice, Yang-hye in her youth, cut pieces of pink clothing, and more.

4. On Experimenting: Emak-Bakia 

Man Ray’s 1926 cinépoéme (cinematic poetry) experiments with visual storytelling in many ways. Images made in the artist’s photographic style like Rayographs and double exposure, complement the film’s dream-like narrative structure. Rayograph was Man Ray’s word for photogram, an image developed without a camera, by using photosensitive material and light. In Emak Bakia: Reconsidered, Edward A. Aiken posits that the film reflects the artist’s “private view of photography, the cinema, and painting.” Furthermore, he writes:

Man Ray also probes the relationship between abstraction and realism through his manipulation of light, motion, and focus. In addition, he poses the questions of how chance relates to calculation and how words and images relate to meaning in poetry and art.

5. Revisiting Old Photographs: A Month of Single Frames

Eight years after a one-month residency in an off-grid shack, Barbara Hammer received her cancer diagnosis. A decade after the news, she started to look back at her personal archive as part of her art of dying. That year, in 2018, she entrusted the outputs from her residency to her filmmaker friend Lynne Sachs. A year later, the short film was released, and Hammer finally embraced eternal rest. As Hammer narrated her meditations about life, idyllic shots unfurled in this peaceful farewell: deep purple skies during sunset, long blades of grass dancing with the wind, and gentle rainfall outside the cabin window. This bittersweet tribute is a reminder that there are things that can only be discovered and realized in hindsight.

6. Visualizing the World and Humanity: Koyaanisqatsi 

Godfrey Reggio’s 1982 experimental docu-film is an audiovisual feast. The grandiosity of the natural and man-made world is paraded through breathtaking shots accompanied by Philip Glass’s electrifying score. Man’s relationship to the environment is inferred based on how the images are sequenced and how the music builds the mood. Even without dialogue, the narrative is multilayered. Photographers of various sorts will surely take delight in the film’s visuals. Beyond the aesthetics, viewers will also gain insight into humanity.

7. Understanding Walter Benjamin’s Essay: Certified Copy 

Abbas Kiarostami’s 2010 film is all about the copy and the original; hence, an intriguing watch that can be read against Walter Benjamin’s 1935 essay The Work of Art in the Age of Mechanical Reproduction. At the time of his writing, photography had gained its footing in mass media. As such, critics like Benjamin have pondered its implications for culture and the arts.

In Certified Copy, British author James Miller and an unnamed French antique dealer converse about different facets of authenticity. The question of what is real is also reflected in the relationship between the two characters that undergo a confounding transformation throughout the film. Consuming texts from scholars like Benjamin and watching related films can deepen one’s photographic practice.

8. Trusting the Process: Mysterious Object at Noon 

This is a cinematic equivalent of the surrealist game Exquisite Corpse as the narrative develops through the imagination of the people encountered by the filmmaker around Thailand. Metaphysical matters, lingering shots, lush tropical environments—these signatures are already apparent in Apichatpong Weerasethakul’s 2000 debut feature film.

Succeeding films by Joe (as he’s called by fans and family) have since been featured in international film festivals in places like Cannes and Venice. His other visual works— video installation, and photography—have also been exhibited in international museums and galleries. Crudeness is expected as one begins to explore and experiment with one’s style. The important thing is to continue practicing and this film could help you do that.

9. Rethinking Your Purpose: The Spectre of Hope 

This 2002 documentary by Paul Carlin stages the discourse between photographer Sebastião Salgado and art critic John Berger as they reflect on the effect of globalization on mass displacement. Aware of his privilege and responsibility as a documentarian, Salgado hopes to portray humanity through his images. They also contemplate the idea of hope, which Berger defines as something that is not related to optimism but rather something that occurs in very dark moments… like a flame in the darkness. Beyond documentary photographers and photojournalists, photographers in other disciplines can expand their perspectives on society at large, prompting further reflection on one’s purpose in pursuing their practice.

10. Digging Through Photography Archives: To Pick a Flower 

In her 2021 video essay, Shireen Seno presents archival photographs of a town established by an American industrialist in the Philippines during their colonial rule. With a mix of research and inference, she analyzes the power relations between man and nature. She also observes the difference between the colonizer and the colonized vis-à-vis their demeanor towards nature. Outside their usual users, the archives are underutilized resources, rich with unexplored narratives. Digging seeds from the past can enrich one’s understanding of the present.

wetransfer presents the day I met björk as a show & online zine

WeTransfer announces The Day I Met Björk, an exhibition and a free, downloadable zine of unseen photographs of Icelandic singer-songwriter Björk, captured by Spike Jonze and curated by fashion designer Humberto Leon. The series unveils over 25 previously unseen images taken by the American filmmaker in the summer of 1995 at the Chateau Marmont in the days prior to shooting Björk’s seminal music video ‘It’s Oh So Quiet.’ Of the thousands of photos taken that day, only six were published, becoming classics in the Björk canon. 

all images © Spike Jonze

a rare glimpse into spike jonze’s iconic meet with the singer

The Day I Met Björk launched on February 15, 2024, at Humberto Leon‘s LA restaurant and gallery space Arroz & Fun. The fashion designer discovered the outtakes long treasured by the singer’s fans, while helping Spike Jonze organize his archive. ‘When I came across these photos at Spike’s I knew, as a longtime fan of both he and Björk, that they were special and needed to be seen. I remember being a college kid and seeing the originals in Detour, they were instantly iconic to me. It’s an honor to help bring these photos out from the archive for fans everywhere to see for the first time,’ Leon shares. 

The Day I Met Björk, announced by WeTransfer and curated by Humberto Leon

WeTransfer’s support of The Day I Met Björk is one in a series of collaborations initiated via its arts platform, WePresent — fostering a sense of community among creators by offering its platform as a hub where they can distribute content to their fans. ‘The meeting of Spike Jonze and Björk almost 30 years ago resulted in now iconic photography and one of the most referential music videos of the 90s. The fact that we now get to revisit that meeting and share never-before-seen images with people around the world is so exciting,’ comments Holly Fraser, VP, Content at WeTransfer. To bring the images to fans around the world, a limited edition commemorative zine featuring never-before-seen contact sheets and a conversation between Jonze and Leon is available to download now globally for free here. Limited physical copies are available at the exhibition.

25 previously unseen images taken by Spike Jonze in the summer of 1995 at the Chateau Marmont

revisiting an iconic duo’s encounter

The Day I Met Björk is also available as an online zine

There are 30,000 photographs lurking on my computer, all of them from the last few years. If you know me, you are not surprised by that number. If you are like me, you might have even more on your computer. But this throng of images makes me wonder what drives my greedy stockpiling of fleeting moments, most of them not particularly momentous.

It started early. One of my stand-out childhood memories of Christmas is of unwrapping a boxy Polaroid Land camera, my “big gift” one year in the late 1960s. In that moment, I felt as if my parents really did know who I was and who I hoped to become. No number of pixels in my phone will ever compare to the eerie magic of watching my first Polaroid image slowly come into being — a blurry close-up of our dog Chrissie, if I remember right.

I’ve been taking photographs ever since. It has, at times, been part of my job. But mostly it’s been a reflexive way to mark time and change. Sometimes it’s a mediation, and sometimes it’s a way to transform a dull moment into a fun game.

Since moving back to this area, the bleak expanse of January and February has become my favorite time for taking pictures. It’s easier to stay close to home and look more intently at a familiar world transformed. Snow turns the landscape into an etching. The play of ice and water in the creek is infinitely varied. Winter sunlight is so pure, and the shadows so sharp.

A couple of weeks ago, my friend Abby and I spent a day wandering around Holyoke in that crispy winter sunshine taking photographs of empty paper mills stretched out along the canals, their brick walls turned into canvases for graffiti art, barely another pedestrian to be seen but still the occasional hopeful art gallery or coffee shop or row of curtained windows hinting at lives inside.

My favorite images from that day are of the windows in an empty old brick building. They’d been covered with warped plexiglass, and in the sharp winter sunshine reflected a wildly distorted image of the boxy modern gray-and-white building across the street.

Why are so many of us devoted to this particular form of memorializing daily experience? Photographic images have become so ubiquitous that one might assume they have lost their power to surprise us or shift our perceptions. (According to researchers, we humans are taking an estimated 5 billion photos every day, and about 93 million of them are selfies.)

While never particularly trustworthy — the camera has always been an accomplished liar — photographs in the age of artificial intelligence seem to be rapidly becoming both more “realistic” and less “true.”

There’s a phrase that pops up over and over again in serious-minded conversations about the “why” of making photographs: “Every photograph is a self-portrait.” The first time I encountered it, I didn’t think much of it. But then I heard it in a photography class, read it in a book and then in another book. Then I saw it in a photo blog.

Oddly, almost every time I come across this quote it is attributed to a different well-known photographer. Some attribute it to Minor White, a master of the black-and-white print with an interest in Zen philosophy; others cite Sally Mann, known for large-format photographs of her family and domestic surroundings; and still others reference the great Depression-era photographer Dorothea Lange.

I can’t argue with that bunch, so there must be something to it. Perhaps it is the intensity with which a photographer sees and in that moment responds to what she or he sees. It can certainly be a way of projecting yourself onto the world while also standing back, and of capturing not just what you see but how you see it.

On the other hand, sometimes we push the shutter for the sheer fun of it — to catch the way a rising winter sun can turn my mare Maizie into a balloon animal, and turn me into Gumby’s giant stretchy sister. Yes, this photo is a self-portrait. But that is certainly not the point.