Photography

Sebastiao Salgado’s ‘Genesis’ to make Istanbul debut at 212 Photography

Sebastiao Salgado’s ‘Genesis’ to make Istanbul debut at 212 Photography

The seventh edition of 212 Photography Istanbul, supported by the Ministry of Culture and Tourism, will be hosting the “Genesis” exhibition by Sebastiao Salgado, a Brazilian photojournalist with a five-decade legacy of documenting the world, for the first time in Istanbul as part of the Culture Road Festivals.

Salgado, one of the most significant documentary photographers and activists of our time, is known for his impactful black-and-white images depicting harsh living and working conditions, poverty, hunger and migrations in the world’s underdeveloped countries. His “Genesis” project, consisting of 245 black-and-white photographs, will be displayed in Istanbul for three months.

This monumental project, worked on by Salgado between 2004 and 2011, is described by the artist as a “love letter to our planet.” It focuses on landscapes and animal species threatened by climate change, documenting unchanged landscapes and communities in the North and South, the Amazon and the Galapagos Islands despite the destructive impact of modern society. The exhibition takes the audience on a journey to explore different geographies and cultures, from the animal species of the Galapagos to the penguins of Antarctica and the South Atlantic, as well as the tribes in the Amazon.


A marine iguana (Amblyrhynchus cristatus), Galapagos, Ecuador, 2004. (Photo courtesy of Sebastiao Salgado)
A marine iguana (Amblyrhynchus cristatus), Galapagos, Ecuador, 2004. (Photo courtesy of Sebastiao Salgado)

Sebastiao Salgado holds a degree in Economics from Universidade Federal do Espirito Santo (UFES), a master’s degree from the University of Sao Paulo and a doctorate from the University of Paris. He began his professional career as an economist at the International Coffee Organization and undertook his first trips to Africa for the World Bank. During these trips, he started taking photographs and continued his career in photography from 1973 onwards. He worked with photo agencies Sygma, Gamma based in Paris and Magnum Photos from 1979 to 1994.

Later, he founded his agency, Amazonas Images, with his wife, Lelia Wanick Salgado. In the late ’80s, he gained recognition for his documentary photographs of workers in underdeveloped countries, such as the images taken at the Serra Pelada gold mine in Brazil. In the field of environmentalism, he and his wife have been working on the restoration of Brazil’s Atlantic Forest since the 1990s. They transformed a 17,000-acre area into a nature reserve and dedicated their institute, Instituto Terra, to reforestation, conservation and environmental education.

With a career spanning over half a century, Salgado is one of the most respected living photographers, honored with numerous awards. Most recently, in 2024, he received the Outstanding Contribution to Photography Award from the Sony World Photography Awards, a recognition previously given to photography pioneers like William Klein, William Eggleston, Elliott Erwitt and Rinko Kawauchi.


An iceberg between Paulet Island and the South Shetland Islands on the Weddell Sea,  Antarctic Peninsula, 2005. (Photo courtesy of Sebastiao Salgado)
An iceberg between Paulet Island and the South Shetland Islands on the Weddell Sea, Antarctic Peninsula, 2005. (Photo courtesy of Sebastiao Salgado)

In June 2007, a major selection of his works was exhibited in Madrid as part of PHotoEspana. Since 2013, the “Genesis” project has been showcased at leading museums around the world, including the British Museum in London, the International Centre of Photography in New York, the Maison Europeenne de la Photographie in Paris, the Ara Pacis Museum in Rome, Fotografiska in Stockholm and the Royal Ontario Museum in Toronto. It has reached audiences globally, from South Korea to Brazil, and from Portugal to the Netherlands.

The documentary film “Salt of the Earth,” directed by Salgado’s son Juliano Ribeiro Salgado and Wim Wenders, focuses on Salgado’s work and life, won the “Un Certain Regard” award at the 2014 Cannes Film Festival and was nominated for Best Documentary at the 2015 Oscars.

Since 2001, Salgado has served as a UNICEF Goodwill Ambassador. He has published 19 books, including “Genesis,” “The Other Americas,” “Sahel,” “Workers,” and “Migrations,” published by Taschen in 2013.

Arts Agenda: A display of talent in quilting, guitar work, and photography

Arts Agenda: A display of talent in quilting, guitar work, and photography
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The Crosstown Arts Film Series presents MILK at Crosstown Theater
Thursday, June 13 | 7:00 PM

Event Details

Threading Legacies: A Tribute to Black Women Quilters in Memphis, TN at Cossitt Library
On view through June 28

Event Details

Memphis Camera Club: Best of Show 2023 at ANF Architects
Opening Reception | Friday, June 14 | 5:00 – 7:00 PM

Event Details

Crosstown Arts presents the Marisa Anderson in The Green Room
Sunday, June 16 | 7:30 PM

Event Details

Create your own Arts Agenda with the help of ARTSmemphis’ calendar of events.

Honor Transforms Mobile Photography with Studio Harcourt Collaboration

Honor Transforms Mobile Photography with Studio Harcourt Collaboration

Revolutionizing Mobile Portraiture
The new wave of mobile photography is here, and it’s led by Honor’s innovative 200 series, a leap forward in portraiture. Crafted to cater to the highest standards, the Honor 200 series emerges as a beacon of innovation, merging sleek aesthetics with unparalleled functionality.

A Fusion of Expertise and Innovation
Central to the 200 series’ allure is a landmark partnership with Paris’s iconic Studio Harcourt. This collaboration with an establishment famed for its storied history in creating iconic portraits infuses each Honor 200 Pro with the soul of a mini Studio Harcourt.

Key Features Aplenty
This powerhouse offers a gamut of features, including a 50MP main portrait camera with a Super Dynamic H9000 sensor ensuring an exquisite interplay of light and shadows. A personalized 50MP telephoto camera with a Sony sensor captures distant images with clarity. Furthermore, the Honor AI Portrait Engine, powered by artificial intelligence, allows for seamless capturing of fine details.

For an immersive viewing experience, the Honor 200 series flaunts a 1.5K quadruple-curved display, designed to protect the eyes with 3840Hz PWM dimming. The robust 5200mAh battery offers a prolonged music streaming session of up to 61 hours, and with the 100W Honor SuperCharge, the device is ready to go in just 41 minutes. Multitasking is a breeze with 12GB RAM and a generous 512GB storage space, all powered by the smooth MagicOS 8.0.

A Lighter Variant for the Masses
For those seeking a more accessible version, the Honor 200 Lite caters to your needs without compromising quality. Featuring a triple-camera system with a staggering 108MP main camera, a 50MP front camera with self-lighting, and a vivid 6.7-inch AMOLED display.

Availability and Prices in Bulgaria
The Honor 200 Pro is available in Moonlight White, Black, and Ocean Cyan, priced at 1599 BGN with VAT. The standard Honor 200 comes in Emerald Green, Moonlight White, and Black at 1299 BGN with VAT, and the Honor 200 Lite in Midnight Black and Cyan Lake at 649 BGN with VAT.

This synergy with Studio Harcourt forms the heart of the new Honor AI Portrait Engine, empowering you to capture professional-grade portraits with surgical precision in manipulating lighting and shadows. Beyond its photographic prowess, Honor provides a mobile experience with lasting battery life, rapid charging, expansive displays, and smart operating systems.

Relevant Facts:

– Honor, originally a sub-brand of the Chinese company Huawei, became an independent brand in November 2020 due to US sanctions impacting Huawei’s ability to procure components for their devices.
– Studio Harcourt is renowned for its signature black-and-white portraits of celebrities and has been an institution in photography since its foundation in 1934 in Paris.
– The collaboration between Honor and Studio Harcourt is aimed at blending high-quality photography standards with the accessibility of smartphone technology.

Key Questions and Answers:

What are the implications of Honor’s collaboration with Studio Harcourt? This collaboration brings prestigious photographic expertise to the Honor 200 series, positioning Honor as a premium contender in the sphere of mobile photography.
How does the partnership affect the camera capabilities of the Honor 200 series? The Honor 200 series is equipped with advanced camera technologies and AI-enhancement features that emulate the professional lighting and portrait techniques of Studio Harcourt.

Key Controversies and Challenges:

– Some may question if a smartphone can truly replicate the quality of images captured in a professional photo studio setting, despite collaborations such as this.
– Honor faces the challenge of distinguishing itself from former parent company Huawei in an already crowded market.

Advantages and Disadvantages:

Advantages:
– Honor’s collaboration with Studio Harcourt can lead to advanced photography features and a unique selling point for their phones.
– The AI Portrait Engine provides users with innovative tools to create professional-looking portraits.
– Fast charging and robust battery life enhance user experience for those with heavy media consumption or productivity needs.

Disadvantages:
– High specifications may result in a premium price tag, potentially limiting the customer base.
– The complex interplay of lighting and shadows captured by professional studios may still be difficult to perfectly replicate on a smartphone.
– Larger and higher-quality images typically require more storage space, which may be a concern for users with extensive photography needs.

Related Links:
– For more information about Honor products and collaborations, visit Official Honor Website.
– To learn more about Studio Harcourt and its photographic heritage, visit Studio Harcourt Website.

Note that the availability, prices, and features stated in the original article specifically relate to the Bulgarian market and may differ in other regions.

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The Pinnacle of Portrait Photography: Honor 200 Pro Smartphone Debut

The Pinnacle of Portrait Photography: Honor 200 Pro Smartphone Debut

Portrait photography requires not just skill but also high-end equipment and patience – or so it was believed until Honor introduced a game-changer. The Honor 200 Pro smartphone, unveiled in Paris, boldly promises to facilitate stunning portraiture with its advanced features tailored to this photographic discipline.

The Honor 200 Pro’s innovation lies in its Honor AI Portrait Engine. Developed in collaboration with the famous Parisian portrait photography studio, Studio Harcourt, this AI system integrates the latest technology with the studio’s long-standing artistic heritage.

Equipped with a 50MP primary camera that boasts the Super Dynamic H9000 sensor and pixel fusion technology, the Honor 200 Pro excels in low-light scenarios. Its camera system is further enhanced with a 50MP telephoto lens by Sony that offers 2.5x optical zoom and a 12MP sensor with an ultra-wide lens. A duo of front-facing cameras – a 50MP wide-angle and a 2MP depth sensor – ensures high-quality selfies.

To enhance portrait detail and lighting, the brand has developed an exclusive algorithm, Honor RAW Domain, a result of intensive research involving more than 20 experts from Studio Harcourt and Honor.

The smartphones’ photographic prowess doesn’t end there; it includes special AI algorithms that detect movement, capturing candid, dynamic moments. There are also three distinct portrait modes conceived by Harcourt, enabling users to craft images with specific stylistic intents.

Beyond photography, the Honor 200 Pro enhances the mobile user experience with a TUV Rheinland-certified display for reduced flicker, the Natural Tone 2.0 system for more accurate colors and less eye strain, and an AI-powered circadian night display to improve sleep quality by managing blue light exposure.

Further, the display supports adaptive dimming and a peak HDR brightness of 4000 nits. Under the hood, the device boasts 12GB RAM and a Snapdragon 8s Gen 3 processor, blending speed with storage capacity of 512GB. MagicOS 8.0, based on Android, offers a seamless and enriched software experience.

The Honor 200 Pro is more than just a phone; it’s a “window to AI”, a pivotal element in Honor’s strategy as they invest heavily in R&D, with the intent of revolutionizing technology and user interaction.

Important Questions and Answers:

1. What makes the Honor 200 Pro unique in the photography market?
The Honor 200 Pro distinguishes itself with its Honor AI Portrait Engine, developed in collaboration with Studio Harcourt, which blends the latest technology with traditional artistic methods. It also boasts impressive camera specs with a primary 50MP camera with pixel fusion technology, a 50MP telephoto lens, and a 12MP ultra-wide lens, as well as front-facing cameras.

2. How does the Honor 200 Pro aim to improve the user experience beyond photography?
In addition to its camera capabilities, the Honor 200 Pro features a TUV Rheinland-certified display to reduce eye strain, Natural Tone 2.0 for accurate colors, AI-powered circadian night display, adaptive dimming, and high HDR brightness. It also has high performance specs with 12GB RAM, Snapdragon 8s Gen 3 processor, and 512GB storage on the MagicOS 8.0 software platform.

3. What are the potential challenges associated with the Honor 200 Pro?
Challenges may include skepticism from professional photographers about the ability of smartphone cameras to match the quality of dedicated high-end cameras. Additionally, competition from other brands with established reputations in photography, such as Apple and Samsung, could pose a challenge for market adoption.

Advantages and Disadvantages:

Advantages:
– High-end camera specifications suitable for low-light photography and detailed portraits.
– Collaboration with Studio Harcourt integrates professional photographic expertise into the AI system.
– User experience features such as a certified display and cutting-edge processor that ensure smooth operation and eye comfort.
– Special software enhancements like MagicOS 8.0 that add to the overall functionality of the device.

Disadvantages:
– Premium smartphone cameras often come with high costs, which could be a barrier for some users.
– Some photography enthusiasts might prefer traditional cameras over smartphone cameras for portraiture, despite technological advancements.
– Reliance on AI and algorithm-driven features may not always satisfy those who prefer manual controls and customization in photography.

As I cannot verify the latest content or links to the domains mentioned, I will refrain from providing external links. However, for additional information on the Honor brand or to verify facts, you can typically refer to the Honor official website by searching for “Honor Global” or the official Honor domain for your region.

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Tips on ageing well from Singapore photographer, 58, who looks half his age

Tips on ageing well from Singapore photographer, 58, who looks half his age

Singaporean fashion photographer Chuando Tan has garnered acclaim for his captivating images of his subjects, and of himself.

With chiselled abs and a youthful visage, Tan looks far younger than his 58 years.

The youngest son of painter Tan Tee Chie, his journey into the world of imagery began as a model in the 1980s. He was briefly a pop vocalist during the 90s, before pivoting to photography.

About a decade ago, Tan opened an Instagram account for the studio he established with photographer Frey Ow, ChuanDo & Frey, and posted a series of self-portraits and captivating captions.

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Tan posted this photo of himself from 1989, aged 23. Photo: instagram.com/chuando_chuandoandfrey

His age-defying appearance swiftly captured attention online. Today, the Instagram account has more than 1.5 million followers.

There was plenty of speculation about his youthful looks; some commenters attributed them to genetic inheritance, while others lauded the purported benefits of Singapore’s air, superior healthcare infrastructure, and access to premium products.

The Post spoke with Tan about his daily regimen.

Tan believes that what we eat has considerable influence over how we feel and how we look. Our diet accounts for 70 per cent of our physical and mental well-being, he believes, with physical activity contributing the rest.

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Tan, having a mug of tea with ice cream, enjoys this dessert once in a while. Photo: instagram.com/ chuando_chuandoandfrey
Tan’s other meals often feature chicken with rice, grilled vegetables and fish broth. He enjoys ice cream now and then. Steering clear of coffee and tea, he drinks lots of water to stay hydrated.

When asked about the one food he could not live without, Tan doesn’t pick out a particular item, but chooses a food group.

“Protein,” he says, “is essential for maintaining our overall well-being.”

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Tan celebrated his 58th birthday in March. Having a positive outlook on life is a key to his age-defying looks, he says. Photo: facebook.com/chuando.official

If he had to pick a favourite meal, Tan would opt for a dish with some form of protein and vegetables in clear soup.

The choice underscores his commitment to a balanced diet, prioritising nutrients that support vitality and longevity.

He takes a vitamin C supplement – “because it is a powerful antioxidant [that] plays a crucial role in repairing and rejuvenating our bodies,” he says.

For those seeking guidance on ageing with grace and vitality, Tan offers a few tips.

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Tan recommends spending enough time in the sun to allow vitamin D synthesis, but beware that too much sun exposure can accelerate the ageing process. Photo: instagram.com/chuando_chuandoandfrey
  • Do regular compound exercises with weights. Squats, lunges, bench presses and pull-ups work multiple muscle groups at the same time. Studies show these time-effective routines help burn more calories, improve and build intermuscular coordination, strengthen the core and build muscle mass.
  • Nurture relationships with loved ones. Having social connections doesn’t just make us feel included and cared for, research shows; it’s also the strongest protective factor against depression.
Does he consider himself a biohacker, among the legions of people trying to turn back the clock?

No, says Tan. He shuns labels. Despite his dedication to health and wellness, he says he is simply a “normal human being”.

Downtown DiCarlo’s To Move Temporarily to Former Schneider Photography Building

Downtown DiCarlo’s To Move Temporarily to Former Schneider Photography Building

|Photo provided| The former Schneider Photography building at 1125 Main St. has been purchased by the Regional Economic Development Partnership (RED) in Wheeling.

WHEELING – The former Schneider Photography building on Main Street in Wheeling has been sold, and it is set to likely become a temporary home for downtown DiCarlo’s Pizza.

Regional Economic Development Partnership (RED) has purchased the structure at 1125 Main St., with the intent of leasing first floor space to Toni DiCarlo – owner and operator of the DiCarlo’s Pizza shops in downtown Wheeling, the Highlands and Glen Dale – at least in the short term. DiCarlo is constructing her own building nearby at 1115 Main St. Groundbreaking is set for that property at 11 a.m. Monday.

Jennifer Paull, realtor for Paull Associates, reports RED purchased the former photography building at a price tag of $250,000.

It consists of 7,500 square feet and includes three floors and a basement.

She described the 1125 Main St. building as “historical,” as it was constructed in 1885, according to Paull.

DiCarlo’s new building is planned to have retail/restaurant space on the first floor, and residential living space above. Paull said the 1125 Main St. property was listed for sale for more than a year. Then after the Downtown Wheeling Streetscape project started, there was a lot of activity and interest about the building from out-of-town people.

DiCarlo explained she presently has a month-to-month lease at her current location at 1311 Main St. Meanwhile, construction on her new building isn’t expected to be completed “for at least eight to nine months.”

“I’m just trying to be proactive,” DiCarlo explained. “I’m wanting to make sure my business can continue to run in case I have to vacate within 60-90 days.

“My new building might not be ready for when a new tenant wants to come into my current location,” DiCarlo explained. “This permits me to not have to shut down for a long time.”

She said she is not sure when the pizza shop is moving, as some work in the former photography building will have to occur before this can happen. She expects it could be “in another three months.”

Josh Jefferson, president and CEO of RED, did not immediately return messages seeking comment on Tuesday.

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Fresno photographer wants to turn family photos into piece of art

Fresno photographer wants to turn family photos into piece of art

FRESNO, Calif. (KFSN) — Getting the perfect shot is an art for Samantha Leon.

Even the finishes are museum quality.

“I have always had a huge love for the arts,” she said. “My mom basically made it a part of our childhood.”

The photographer moved into her studio in the shopping center off of Herndon and Marks a year and a half ago, but had been capturing memories since childhood.

“I started out with film photography with my dad, so I’ve always been real interested in the arts in general,” Leon said.

Inspired by family to take the leap and turn her art and studies into a career, she’s now the proud owner of Little Lion Photography.

“My style of work is fine art photography, and it’s really the way that I light it and edit it,” she said. “That’s what really makes it look like a painting.”

Leon’s portfolio ranges from studio to whimsical settings, offering families heirloom pieces.

“I’ve won several international competitions, and two of my images have been in Vogue,” she said.

She takes the time to do a consultation before every photo shoot.

“By the time they come in, we’ll have spoken several times, so they’re really pretty comfortable once they come in, and that’s how I feel I can get their true essence,” Leon said.

Each shoot comes with hair and makeup — even wardrobe, at your request.

Packages range from wall art to portfolio boxes.

“We choose whatever framing options suit their personal home style the best,” Leon said.

Whichever package you choose, Samantha says she treats each photo as an heirloom piece.

“I’m a very tangible-based business,” she said. “I believe in the power of print and artwork, and art-printed images are what’s going to last. “

For news updates, follow Vanessa Vasconcelos on Facebook, Twitter and Instagram.

Copyright © 2024 KFSN-TV. All Rights Reserved.

Photography school for husbands

Photography school for husbands

Photography school for husbands – CBS Pittsburgh


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Do moms ever get to be in the photograph? If they are can they ever get a nice photo with the kids? It’s something we’re discussing in Talk The Talk.

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Elizaveta Porodina Finds Limitless Expression in Photography

Elizaveta Porodina Finds Limitless Expression in Photography

Elizaveta Porodina has shot Vogue covers; she’s photographed campaigns for brands like Armani, Dior, Jean Paul Gaultier, and recently, Orebella; and she’s even released a book, Colormania, in collaboration with Carolina Herrera and the brand’s creative director Wes Gordon. But she does not think of her work as “fashion photography,” and upon viewing her images, that label doesn’t feel quite accurate. Rather, the clothes and beauty are tools and context for her artistic practice. Porodina’s abstract use of color, the otherworldly quality of her models—whom she refers to as muses and co-creators—and the expressiveness of their faces and bodies are a few striking qualities of her distinctive visual signature. Through close collaboration with her muses, she pushes into deep wells of emotion, delving into themes like isolation, alienation, and vulnerability. “I try to find people who have strong personalities, interesting points of view, a fantastic understanding of their body, and an openness to experimentation with body and mind,” she explains. “People who are attracted to the acting and exploring rather than, let’s say, posing or just superficial beauty…which is not to say that I’m not attracted to beauty, but I just find complex beauty more enchanting.”

Porodina’s drive to create has deep roots in her childhood. Born in Moscow, she moved to Munich when she was 12 and grew up poring over art books with her mother, developing an appreciation for iconography, form, and color. She studied opera and found early on that drawing and painting were powerful ways of connecting with people, something she had always struggled with before. But she describes eventually hitting limitations within these mediums, and after studying clinical psychology and feeling reluctant about committing to a career in the field, she became enraptured by photography in her early 20s. In photography, she found purpose, a means for collaboration and closeness with other people, and a boundless mode of expression. Here, we discuss the role of empathy in her practice, the fickle nature of flow state, and the importance of internal harmony.

Courtesy of Elizaveta Porodina

Coveteur: Do you ever use self-portraiture as a means of self-expression? Are you able to explore in ways that you can’t photographing other people?

Elizaveta Porodina: “I wouldn’t say that, to be honest, because I think it’s rather the other way around. When I have to do a self-portrait, and that’s mostly because no one else is around, I use it as a reminder to be empathetic and to ask of people only what I would do myself. For me, self-portraiture is more like an exercise in empathy rather than, ‘Oh, this is the true place of intimacy.’ I would rather say that my premise, in general, is to push people further than they thought they would go, but I don’t want to push them to a place where I myself would never go under any circumstances.”

I think empathy is one of the most important traits that artists can have. It really comes through in your photos.

EP: “Different artists say different things about that because, when you look at the art of other people, it sometimes appears as if empathy as a quality is frowned upon. I personally feel that you don’t need to break anyone and you don’t need to treat anyone badly to get true emotion. I think that you can access depth, suffering, or vulnerable places within people through empathy, kindness, participation, and witnessing.”

I read that you wanted to be an artist growing up and this was a life you wanted to pursue. What inspired these early aspirations?

EP: “I obviously want to give you a truthful, authentic answer, but the more I move away from my childhood, the more it all becomes a narrative and a story that I tell to myself rather than the ultimate truth. I assume, now, from what I remember, I was just really struggling to communicate with people properly, in verbal ways and the usual social ways. I felt isolated, shut out, and pretty much alone. I was either alone or surrounded by old people.

I remember when I was 13 or 14, the moments when I was appreciated, or not seen as a freak or a weirdo, were moments when I would draw. People would suddenly surround me, look over my shoulder, and ask me what I mean by these images. I feel almost a magical attraction that I start to exude when I create. I feel like I find my center and that I’m able to resort to a place where I’m interested in myself and in my own process, unlike at any other moment of my life, when I create—visually, with my voice, or whatever. I think that was pretty much the reason.”

Courtesy of Elizaveta Porodina

Courtesy of Elizaveta Porodina

Right, you used to sing opera.

EP: “Well, I wanted to sing opera, and I learned it. I took lessons for four or five years because I was under the impression that I would be Maria Callas [laughs]. Then I found out that I wouldn’t be. Basically, I found my limitations within my voice or, let’s say, more so my expressions. I was pretty disillusioned by that because I felt like, if I wanted to pursue something for my entire life, I’d rather not see any limits for a long, long time, so I decided to find something else.”

I wonder if there’s a similarity between any kind of creation, whether you’re singing, painting, or taking images. Creation lends itself, for me at least, to a hyper-focus and a difference in the body and the way I think. Is that something you experienced?

EP: “Well, you’re talking about the state of flow, right?”

Exactly.

EP: “Absolutely, 100 percent. I wouldn’t say that I’m able to reach it anytime, every time. Sometimes, it’s just hard work. I don’t want to romanticize this process because basically, as many other artists before me have said, you need to sit down and start working every day, be disciplined, and that muse, when she comes, when she decides to descend upon you, she better find you working. Some days are just walking through mud, working hard, and retrieving a couple of little diamonds, and some days are blessed with her presence. Or you can call it a state of flow, and I guess it’s pretty much the same thing.”

Were there any artists of any medium who captured your imagination when you were growing up who are still relevant and important to you?

EP: “Many. I think that was what my mom and I connected most over. She was taking me to exhibitions and theater plays, and growing up, art was a normal thing to consume. It was nothing out of the ordinary. We would sit down and look at many different art books, and I would marvel at how beautiful and strange the choice of colors would be, or how the figures that the artist chose would be completely out of the ordinary, so strangely unique and so much their own. This is something that I feel we both bonded over and what my mom taught me—to understand it freely and easily without imposing any rules upon myself.

I’ve seen a lot of artists that left a lasting impression. Matisse, Cézanne, Vrubel was a big, big thing. He has a painting that is called ‘Demon.’ I remember looking at this painting and being completely blown away by the dark romanticism behind the painting, how vast and beautiful the landscape was, and how the landscape and the colors represent both his internal emotions and something very archetypical. The magical, maybe biblical, iconography within it was really fascinating to me on a level that I wasn’t able to verbalize back then but definitely left a lasting impression.”

Courtesy of Elizaveta Porodina

Courtesy of Elizaveta Porodina

When you were first approaching photography, did you think of it as an artistic medium and mode of expression or was it more as a practical hobby and skill to learn?

EP: “I started when I was 23 or 24. I definitely didn’t allow myself any hobbies back then. I didn’t feel worthy of having hobbies because I didn’t know what exactly to do with myself. I was studying psychology but knew already that that was not necessarily the path that I would want to go down. I felt pretty unworthy of having hobbies or spending leisure time until I found what I was actually going to do with my life. Anything that I would pick up on would be somehow in the bigger vein of finding a larger purpose for myself.

I was drawing and painting before, and with that, again, I found my limitation. I hit a wall. It dried up and the singing dried up. Again, I was alone and isolated. I was looking around me and trying to find a medium where I would have a lot to learn, and where I would not find any limitations. What attracted me to photography was the fact of extensive collaboration, specifically with that sort of photography, where you photograph different people, with a vehicle of fashion, makeup, or whatever. It was playful and theatrical. It allowed for extensive, limitless collaboration with so many different people, which also had a confrontational aspect to it because back then, I was pretty much afraid of everything and everyone. I probably was even afraid of going to a store and talking to people, so that sort of photography was a life exercise. Every shoot became like a test. ‘Can you do this? Can you stretch yourself further? Can you conquer that moment?’ I guess it was more that than a practical hobby.”

Did you start doing fashion photography pretty soon after you started taking photos?

EP: “I wouldn’t say that I ever called it fashion photography or ever saw it like that. At some point, maybe there was a need to name it somehow, but for me, it was just photography or just me doing my art, doing pretty much exactly the same thing that I was doing before. Even with painting or writing songs, it was just packing and unpacking archetypes that I find within myself, but with different mediums. I think that fashion can be a powerful vehicle to that because people choose to wear it on their bodies and they choose to, maybe consciously or subconsciously, express emotions with it, so it is a pretty magical tool.”

Do you find that your personal relationship with dressing and fashion has evolved since working in this field?

EP: “I don’t know if it’s changed since I was working in the field, because I’ve been working in the field for many years now, and I stayed pretty much the same for a long while. But a couple of years ago, I think I was on a KNWLS shoot. We were shooting Julia Fox and she was rocking these incredible pants that KNWLS does, and I was just so enchanted by these pants. I think in that moment, something in me clicked. I do think that people constantly change and evolve and that as a person and as a personality, you keep exploring different parts of your identity. Clothes, for me, are an expression of these changes and of these constant switches in the mosaic that is the human identity. I definitely experiment with clothes and color way more now. I found great fun in doing that and obviously, it’s a huge exercise for my profession, as well. Because the more you experiment with clothes yourself, the more you can speak, for example, to the styling department.”

Did you ever go through any phases with subcultural dressing?

EP: “Yeah. I was a goth. When I was a kid, I was pretty gothy.”

Courtesy of Elizaveta Porodina

Courtesy of Elizaveta Porodina

I love how you refer to your models as muses. Are there any energies or characteristics that are particularly inspiring to you?

EP: “Definitely. To me, casting and the models, the muses are a huge, super important aspect within my shoots. They’re completely non-exchangeable. I’m extremely collaborative in the sense that they are the co-creators of my work. It’s not like there was a blank spot and you could fill anyone in there; I try to find people who have strong personalities, interesting points of view, a fantastic understanding of their body, and an openness to experimentation with body and mind. People who are attracted to the acting and exploring rather than, let’s say, posing or just superficial beauty. That is the part that is not interesting to me, which is not to say that I’m not attracted to beauty, but I just find complex beauty more enchanting.”

You mentioned your struggle for connection as something you explore in your work. Is that something you actively consider in your approach or is that something that just imbues itself in the work in a more abstract way?

EP: “This is an exploration of a thing I find within myself, the isolation and the glass wall that somehow feels sometimes more opaque and sometimes less between me and other people, between me and environments. It’s a thing that I experience. Sometimes, it’s correlated to suffering. Sometimes, it’s just something that I observe without any emotion. Sometimes, it brings me joy, but it definitely is a very specific feeling that is very much mine. That’s why I’m trying to explore it, but I wouldn’t necessarily say that’s the only topic that I explore. It’s omnipresent, I would say.”

That reminds me of your images of the women in a sort of membrane. I was thinking of it as a rebirth but now I’m thinking of it more as that glass wall, that separation.

EP: “Isn’t it both? You’re protected, but alone, and alone, not protected.”

I like how the expression of that comes through these very otherworldly images. Like the way you render skin is almost airbrushed-looking. I was wondering if you think about that contrast between expressing these very human feelings and impulses with these figures that are almost extra-human.

EP: “I feel like this is a totally valid way of interpreting the otherworldliness and the sci-fi sort of thing, but to me, I think the direction that I’m also exploring is the three-dimensionality and the sculpturality of the skin and the body as almost an abstract object in space. That’s one of the aspects of the work, especially when I work on the image. I sometimes want the subject to almost jump at you from the image. I want them to be very, very almost hyper-realistic. Almost confrontational, if you want to say. I totally see how that can be perceived as otherworldly, as well. I don’t mind that.

Formally, I’m interested in color and exploration of sculpturality just as much as I’m interested in conveying a specific emotion that is human. I’m just as interested in just the formal harmony or disharmony of colors as a different layer of conveying a specific emotion.”

It’s more of a poetic logic.

EP: “Yeah, you could definitely say that. I intend it to be multi-layer, and I intend it to be perceptible on different layers. You can perceive the specific concept, you can perceive the expression within the eyes or a specific human emotion, but you can also perceive and take in things that maybe are hidden on different other levels that could be the formal level.”

Courtesy of Elizaveta Porodina

Courtesy of Elizaveta Porodina

I noticed that you engage your community a lot on Instagram in your captions. Why you do that and has anyone ever said anything that changed the way you think about an image?

EP: “To change my way, there would have to be a very set way that I’m thinking about them, which is not the case. I find that before you show them to anyone, they’re like your baby, your secret baby, and you have this secret relationship with them. Maybe you have your favorites or you have your thoughts about it, but they’re all very vague and very simultaneous. Once an image is out there, there is an audience, there is the air that the image breathes, and all kinds of reactions. When you put out an image, it could get a different meaning than what you were intending for it.

I chose to be quite fluid with that. I chose to be, or let’s say I constantly choose to be, a little bit more chill about that. I don’t want to be like, ‘Oh, that’s how I feel about this image and nothing can sway me.’ That’s why I ask because I want to hear the associations. I’m interested. It’s almost like a deck of tarot cards. There is room for interpretation and I like that. I love hearing people who are smart, insightful, and thoughtful sharing their associations. It’s a conversation with cool people who choose to look at my work.”

What you create is so personal to you before it hits the light of everyone else’s perception and then all of a sudden, this thing is now up to be consumed by people. It involves you because you made it but it’s also now theirs to have a relationship with.

EP: “It definitely is exactly like that. I will even go further and say, it’s not yours anymore that much, it’s theirs.”

Are there any artists who are particularly interesting to you right now?

EP: “I’m a huge fan of Miriam Cahn. I’m a big fangirl. I love Magdalena Abakanowicz. The thing is, I love art so much. I see so many different artists, and I appreciate everyone’s approach so much. I don’t necessarily look at things and go, ‘Oh, this is good,’ or, ‘This is bad,’ but I try to delve into their way of working. For example, I am fangirling hard about Sandra Hüller at the moment, the German actress. I think that she’s been doing incredible work and I love her approach. I love how earnest, authentic, and effortless her acting is and her work is, and how much inner work must be under it, almost like with an iceberg, where the tip looks so beautiful and majestic and there so much underneath the water, so much experience, so much depth.”

Has your relationship with photography evolved and are there ambitions and new horizons you want to reach with it?

EP: “I feel like I was when I was younger and when I was just starting, my ambitions were very big, and they were burning me up from the inside, and they were very external. It was very much like, ‘I would like to shoot this person and that person for that magazine,’ and all of that. Also, status and achieving a certain title. It felt very important and almost existentially crucial to reach these things.

I would say that it evolved in a sense that I want to achieve internal mountaintops more. I’ve rearranged myself in a way that I’m always trying to achieve my balance. Every day, I choose to find an internal harmony within myself, which can be just following certain routines, taking care of myself, respecting myself, finding out what I truly feel, and what I truly want. Which seems like it has nothing to do with these external things but, at least in my life, I found that it does because when you align yourself with you, all the other things tend to follow. All the things that are meant for you, that are right for you, that are bound to happen and that will feel good.

This is by no means me trying to do a TED Talk on being spiritual; this is just what I’ve found is working for myself. I had moments in my life where I was pushing very hard for something to happen and I always got what I wanted, but it never made me happy, as opposed to moments that just came to me, and I plunged into them and found myself surprised in the best way possible.”