What inspired your journey into architecture?

"It all started in my childhood," Ms. Gupta begins with a smile. "Growing up in India, I was surrounded by architectural wonders—from the intricate carvings of ancient temples to the bustling streets filled with diverse styles and forms. I remember spending hours sketching imaginary cities, building paper houses, and rearranging furniture in my room. My grandparents’ house, with its carved windows and sunlit spaces, was my first lesson in how design could shape emotions and interactions. Those experiences ignited a spark in me that only grew stronger with time."

Her story is a vivid example of how early influences can leave a lasting imprint, shaping not just a career but a lifelong philosophy. For Ms. Gupta, architecture is not just about creating buildings—it’s about crafting stories and spaces that connect deeply with people.

What makes a space memorable?

"A memorable space is one that stays with you long after you leave," Ms. Gupta explains. "It’s the light filtering through a window, the texture of materials under your fingertips, or the way a room makes you feel at home." She recalls being inspired by the bustling markets of her hometown. "The vibrant colors, the narrow lanes, the way people moved—it was like a living, breathing organism. Those markets taught me that spaces aren’t just physical; they’re emotional and cultural."

This philosophy has guided her throughout her career, from her first community center project during her undergraduate years to her recent endeavors. Her ability to blend functionality with emotional resonance sets her apart, making her designs both impactful and timeless.

How do spirituality and sustainability shape your design philosophy?

Growing up in India, Ms. Gupta was immersed in a culture where spirituality and daily life were deeply intertwined. "The rituals of my family often revolved around spaces—a prayer room where mornings began with chants, a courtyard where we celebrated festivals," she shares. "These spaces weren’t just functional; they were sacred." This perspective, combined with the principles of Vastu Shastra, taught her to see spaces as living entities. "When energy flows harmoniously, the space feels alive," she says.

Her commitment to sustainability stems from this same ethos of balance and renewal. "Sustainability is not just a design feature; it’s a responsibility," she asserts. From integrating natural light and ventilation to using eco-friendly materials, her projects aim to create spaces that are as kind to the planet as they are to the people who use them. "When spiritual and environmental principles align, the result is a space that nourishes both the soul and the Earth."

Can architecture address environmental challenges and enhance lives?

"Absolutely," Ms. Gupta affirms. Her work often tackles this duality, blending ecological innovation with human-centric design. During her Master of Science in Environmental Design at Cardiff University, she designed urban green roofs that insulated buildings, reduced heat islands, and created pockets of urban biodiversity. "It was a challenging project, but it taught me that sustainability and functionality aren’t mutually exclusive—they complement each other beautifully."

How can design honor history while inspiring progress?

"This is a question that drives much of my work," Ms. Gupta reflects. One of her most notable projects, a community arts center, encapsulates this philosophy. "We incorporated traditional motifs and materials to honor the past while introducing modern elements like multipurpose spaces and sustainable features. The goal was to create a space that celebrated the community’s heritage while looking boldly toward the future."

For Ms. Gupta, honoring history is about creating a dialogue between the old and the new. "Architecture should bridge what was and what could be," she says. "That’s where its true power lies."

What does it mean for a space to truly connect with its users?

"A connected space is one that feels intuitive," Ms. Gupta explains. "It understands the needs of its users and inspires them in return." She shares how her childhood fascination with markets shaped this belief. "Those markets weren’t just functional; they were alive with energy and culture. In my career, I strive to create spaces that foster similar connections—whether it’s a school that inspires creativity or a public plaza that brings communities together."

What legacy do you hope to leave?

"I want my work to be a reminder of architecture’s transformative potential," Ms. Gupta says thoughtfully. "It’s not just about buildings; it’s about shaping lives and fostering connections. I hope my designs tell stories that resonate across generations, inspiring people to think deeply about the spaces they inhabit."

To aspiring architects, she offers this advice: "Be authentic. Embrace your journey and let your values guide you. Architecture is a powerful tool—use it to make a difference."

In the world of professional color grading, Beatrice Tremblay stands out not only for her technical expertise but also for her artistic vision. In this interview, Beatrice shares her thoughts on her craft, her inspirations, and her approach to working with some of the most prestigious brands and filmmakers in the industry.

AL: You’ve worked with brands like Louis Vuitton, Marc Jacobs, and YSL. What’s it like collaborating on such high-profile projects?

BT: It’s incredibly rewarding and challenging at the same time. These brands have such strong visual identities, so every detail matters. I collaborate closely with the creative teams to ensure the colors not only enhance the visuals but also embody the brand’s essence. Whether it’s the sheen of fabric, product or the glow of a model’s skin, everything needs to be perfect.

AL: One of your specialties is working skin tones. Can you tell us more about your approach?

BT: Skin tones are one of the most critical aspects of my work. They’re not just about color but about emotion, storytelling and perspective. Every hue and shadow contributes to how a person’s character and presence are perceived on screen. I take great care to ensure that every complexion looks authentic and beautiful, regardless of lighting conditions or style. It’s about celebrating diversity and creating images that resonate with all audiences.

AL: The documentary, A French Youth, won many awards, celebrated for its groundbreaking storytelling. How did you approach this project?

BT: A French Youth was an incredible opportunity to push boundaries. The director and I discussed at length how we wanted every individual to shine in their own way. We did extensive tests on lighting setups and wardrobe colors to ensure the tones would complement each other beautifully. The biggest challenge was to make everything cohesive as it was shot over several years. I used custom grading techniques tailored to highlight natural skin textures while maintaining harmony across the visual palette. Seeing the positive audience response made all the hard work worthwhile.

AL: Innovation seems to be a big part of your craft. How do you stay ahead in such a rapidly evolving field?

BT: I’m always curious and willing to experiment. I’ve been exploring custom LUTs, AI-driven tools, and even unconventional grading techniques to push boundaries. Technology is a powerful tool, but it’s only as effective as the creative vision guiding it. I love blending technical precision with artistic intuition to deliver something fresh and impactful.

AL: Could you share your process behind working on Cirque Du Soleil, Discover the Extraordinary?

BT: Working on Cirque du Soleil’s brand campaign was both an exciting and challenging experience. The project originally began while I was working as a colorist at Sid Lee, but it was abruptly put on hold when the pandemic struck. At the time, I thought it had been shelved indefinitely. Fast forward two years, I was surprised to see the project resurface on my schedule. At first, I wasn’t sure if it was the same campaign, but indeed, it was, and the timeline was incredibly tight.

The main objective for this campaign’s color work was to embrace bold, vibrant visuals, rich colors, strong contrasts, and luminous imagery. Since the campaign featured a mix of mediums, from digital to film, each vignette had its own unique color palette and tone. The challenge was to maintain a cohesive look across the entire edit, ensuring all the pieces blended seamlessly into a unified visual experience.

Collaborating closely with director and DP Derek Branscombe, we meticulously balanced the individual character of each vignette while tying them together with consistent color grading choices. The result was a visually striking campaign that stayed true to Cirque du Soleil’s iconic brand while celebrating the vibrancy and diversity of its performances.

AL: You often get involved in projects before the shoot even begins. How does this early collaboration shape the final result?

BT: Color isn’t just an afterthought, it’s integral to the storytelling process. When I’m involved early, I can work with directors, cinematographers, and production designers to create a cohesive visual plan. We discuss lighting setups, wardrobe colors, and set designs to ensure everything aligns with the intended palette. This level of collaboration ensures that the color grading feels seamless and intentional.

AL: What has been one of the most rewarding aspects of your career so far?

BT: Seeing the impact of my work on audiences is incredibly fulfilling. Whether it’s a luxury campaign that exudes elegance or a documentary that draws people into a deeply emotional story, I’m driven by the idea of making people feel something powerful. I’m also passionate about mentoring emerging colorists and encouraging them to find their own voices in this field.

AL: How does working closely with students benefit your career?

BT: Collaborating with students, especially through institutions like l’Inis, a renowned film institute here in Montreal, is incredibly rewarding and mutually enriching. Mentoring emerging talent allows me to see the craft through fresh eyes, often introducing me to new perspectives and creative approaches I might not have considered. Their curiosity and willingness to experiment reignite my own passion for innovation and push me to refine my teaching and communication skills.

Additionally, working with students helps me stay connected to the next generation of filmmakers and colorists, offering insights into evolving trends and technologies they’re exploring. It’s a two-way exchange: while I guide them in mastering the technical and artistic aspects of color grading, they inspire me to continually grow and adapt in this ever-changing field.

AL: What advice would you give to someone aspiring to become a professional colorist?

BT: Be patient and curious. This field requires both technical skill and a deep understanding of storytelling. Everyday I learn new tools and new ways of doing things, it’s an ongoing process, so don’t be discouraged. Learn to see beyond the surface of an image and think about the emotions it conveys. Also, don’t be afraid to experiment and make mistakes, that’s often where the best learning happens.

AL: Lastly, what inspires you to keep innovating and striving for excellence?

BT: The potential of color to transform a story is endless, and that’s what keeps me inspired. Every project brings a new challenge, a new opportunity to push the limits of what’s possible. Ultimately, it’s about connecting with people—whether through a stunning visual or a subtle detail and making sure the work resonates long after they’ve seen it.

In the world of the gaming industry, success is often associated with innovation, talent, and an unwavering pursuit of excellence. Vladyslav Nazymok is a shining example of a professional who has journeyed from a budding 3D artist to the art director of major international projects, localized into more than thirty languages and sold in the tens of millions of copies. His story inspires many young professionals dreaming of leaving their mark in game development. In this article, we will explore the key stages of Vladyslav’s career, his achievements, and his advice for those aspiring to replicate his success.

Brief Biography and Career Beginnings

Vladyslav Nazymok was born in Ukraine and showed an early interest in art and technology. His passion for computer graphics began during his school years when he first encountered the basics of 3D modeling. “I was always fascinated by the ability to create new worlds and characters, bringing them to life with computer graphics,” Vladyslav recalls.

After finishing school, he decided to dedicate himself to game development, delving into computer graphics, animation, and special effects. During his studies, Vladyslav actively participated in various projects, mastering new tools and technologies, which allowed him to build an impressive portfolio by the time he graduated.

First Steps in the Industry

Vladyslav began his professional career as a 3D artist in a small studio. “The first projects were challenging but incredibly exciting. I learned through practice, discovering something new every day,” he explains. Working on different games, Vladyslav gained valuable experience and realized the importance of teamwork and communication in successfully developing projects.

Developing Professional Skills

To climb the career ladder, Vladyslav placed special emphasis on developing his skills. He didn’t limit himself to just 3D modeling but also studied animation, texturing, concept art, and other areas. “In game development, it’s important to be a versatile specialist. It allows you to better understand processes and interact more effectively with the team,” he notes.

Self-education and continuous learning played a key role. Vladyslav actively attended professional conferences, master classes, and webinars, which helped him stay up-to-date with the latest industry trends and technologies.

Overcoming Challenges and Obstacles

On his path to becoming an art director, Vladyslav faced several difficulties. Competition in the industry is fierce, and to stand out, one must constantly improve. “There were moments when it felt like my progress had stalled, and I didn’t know where to go next,” he admits.

However, his determination and support from colleagues helped him overcome these obstacles. Vladyslav learned to manage stress, effectively plan his time, and not be afraid to take on responsibilities.

Transition to Leadership Roles

Moving from an individual contributor to a team leader was a new challenge for Vladyslav. “Leadership requires not only professional knowledge but also developed communication skills, the ability to motivate, inspire, and focus the team on a common goal,” he shares.

To develop his leadership qualities, Vladyslav studied management methods, psychology, and actively applied the knowledge he gained in practice. He aimed to set an example for his team by demonstrating a high level of professionalism and responsibility.

The Role of an Art Director in Major International Projects

As an art director, Vladyslav oversees the creation of large international projects for PC and next-generation consoles. “An art director’s decisions directly impact the success of a project, its commercial performance, and how it is perceived by players,” Vladyslav emphasizes.

The art director is responsible for creating the visual concept of the project, defining its style and mood. He organizes the work of artists, designers, and animators to ensure that all elements look harmonious and align with the overall idea. At every stage, Vladyslav monitors the quality of visual solutions, ensuring they accurately reflect the intended style. A crucial part of his work is interacting with other departments, such as programmers and game designers, to integrate visual elements into the overall development process.

Key Projects and Achievements

Working on projects like the “DevAR” application, the console project “Expeditions,” and the DLCs for the game “SnowRunner” marked significant milestones in Vladyslav’s career. These games received global recognition, with their visual style and attention to detail praised by critics and players alike.

“Each project is an opportunity to learn and grow. I am proud of what we have achieved with the team and glad that our games have resonated with such a wide audience,” Vladyslav states.

Practical Recommendations for Beginners

For those dreaming of building a successful career in game development, Vladyslav Nazymok offers the following advice:

• Keep Learning: The industry evolves rapidly, and it’s important to stay informed about new technologies and trends.
• Build a Portfolio: A quality portfolio showcases your skills and potential to employers.
• Network: Participate in professional communities, attend events, and communicate with colleagues.
• Be Proactive: Don’t be afraid to take on new tasks and show initiative.
• Develop Soft Skills: Communication, teamwork, and leadership qualities are as important as technical skills.

Future Plans and Vision for the Industry

Speaking about the future, Vladyslav aims to continue working on innovative projects and implementing new technologies in game development. He believes that virtual and augmented reality, artificial intelligence, and other cutting-edge developments will open new opportunities for creating unique gaming experiences. “I want to continue growing as a professional and contribute to the advancement of the industry. Computer graphics is not just a job; it’s my passion,” Vladyslav concludes.

Article by: Venkat Prakash

In the oversaturated realm of photography, where every captured moment competes for a sliver of attention, Vu Nguyen’s work shines with a distinct brilliance. His journey began in the vibrant landscape of Vietnam with Markus, a distinguished agency celebrated for its award-winning campaigns. At Markus, Vu’s innate talent flourished, his eye for visual storytelling sharpened amidst a tapestry of creative endeavors. This foundation paved the way for his role at Etik Academy, an institution brought to life by the esteemed etiquette expert, Yenly Tran.

Vu’s journey did not remain confined within borders. His passion for the art of photography and his relentless pursuit of excellence led him to collaborate with esteemed institutions like the Woodstock Center for Photography. His portfolio, a testament to his versatile talent, includes media assets crafted for private clients and celebrated artists. Among them are the evocative works of American installation artist Johnny Coleman and the profound visual narratives of Vietnamese conceptual photo artist Pipo Nguyen Duy.

Today, Vu Nguyen stands as a master of his craft at Sotheby’s, the prestigious auction house. Here, he captures the essence of art and objects from some of the world’s most significant collections, each photograph a masterpiece of precision and artistry.

Vu’s personal work has not gone unnoticed. In 2023, his innovative and creative explorations of alternative and historical photographic processes earned him the coveted Denis Roussel Award, a recognition of his profound contribution to the field.

As we sit down with Vu, he opens the door to his world, sharing stories of his origins, the inspirations that fuel his passion, his ambitions, and the future projects that promise to redefine the boundaries of photographic art.

Adana Vincent: Can you tell us a bit about your origins?

Vu Nguyen: I was born in Hanoi, Vietnam, in 1998 – not too long after the U.S. lifted the majority of sanctions and embargoes against Vietnam in 1995. After trade started coming in, the country really grew at a tremendous speed. I remember growing up surrounded by the interminable waves of globalization. The precarious urban landscape in Hanoi changed at such a dramatic rate that it was almost unrecognizable even after only a few years. Architecture, aesthetics, cuisines, and pretty much all things tangible at the crux of culture and modernity were thrust into our zeitgeist at such a breakneck speed.

Hanoi, with its thousands of years of heritage in a modern state of constant flux, has perpetually intrigued me. It so dearly captures much of my imagination and belonging. It’s where I spent the majority of my life and where, for all intents and purposes, everyone I hold dear resides. Yet, the Hanoi I used to know and love is not the same Hanoi I would or will come back to after years of living elsewhere.

AV: When did you decide you wanted to become a photographer and media producer?

VN: I became fascinated with photography at an early stage in life since my father was an avid hobbyist photographer. However, it wasn’t until after high school that I decided to pursue it professionally. At the time, I put college on hold and spent some time working in the Vietnamese media production industry, far from my safety net. I worked for award-winning media companies like the well-known Markus agency. I also created media assets for the famous Yenly Tran’s academy, Etik. That was one of the most pivotal moments in my life. After discovering that there was a viable career path, I decided to attend college in the U.S.

My journey in the U.S. has been both formative and disorienting. I came with a keen focus on becoming a cinematographer but ended up expanding my discipline into many studio art practices, working with recognized artists like Johnny Coleman and Pipo Nguyen Duy, to whom I am very grateful. This move helped keep me on my toes in terms of critical understanding and problem-solving skills in all production processes. The unique experience across multiple disciplines in studio arts has been distinctly formative, guiding me through the fluid creative process and making my work more dimensional.

AV: What made you choose your creative field?

VN: I’m bound by this sense of obsession with mastering a certain craft. In Vietnam, crafts, and consequently the arts that go along with them, generally reside in very specific localities, usually in certain villages, where such forms carry much pride and heritage. Growing up in Vietnam, I was entranced by this collective capacity to operate in an artisanal craft at such a high caliber. It is not only a demanding skill to ascertain but also a rite of passage to learn from and stand on the collective history embedded within both the land and the people who reside there.

On top of that, I think the field of studio arts is perfectly situated at the liminal cross-section between the arts and sciences. It is a form rooted in deep tradition yet heavily dependent on the rapid changes brought about by a continually revitalizing new generation in the contemporary setting, reflecting the most current pressing matters of our time.

AV: What particular techniques do you use in your practice?

VN: My work mostly resides in the form of analog photography and historical/alternative processes. I have a deep-rooted curiosity for the ontology of the image, especially in juxtaposition with this new space in AI in creative applications. I strongly believe that the tactility and tangibility of the work still connect with people in ways that AI or computer-generated imagery in the digital space cannot.

AV: How would you describe your work?

VN: My personal work is eclectic, spanning documentary, staged portraiture, and landscape photography. The umbrella that they all fall under is my quest to document permanence in the flow of time, whether it is a time image of a person, a place, or even abstractions such as the concept of exile. There is a certain physicality in my work that feels more grounded to me. The ontology of the image sets the basis for the truth portrayed. I avoid crossing the production pipeline into the digital space as much as possible because I feel more connected to the work when it’s created in the physical realm.

AV: What inspires you?

VN: For most of my time in Vietnam, I never entertained the idea of a physical photographic print beyond old family albums. I still remember the first time I went to the Museum of Fine Arts in Boston and saw one of Ansel Adams’ 8×10 Sequoia Roots contact prints. I was completely entranced by the sense of awe it evoked. The print was a beautiful, tangible testament to the sheer wonder of Ansel Adams and his photographic process. It was a simple contact print, yet it encompassed a metaphysical relationship between the viewer, the photographer, and the subject.

Standing close to the print, I felt as though I was in the presence of a certain aura. This physicality and tangibility are elusive but deeply impactful, from the majestic Sequoia Roots that existed long before us to the image projected onto a physical ground glass, to the negative captured and developed, to the simple archival contact print that will outlast many generations.

AV: How does your creative process develop?

VN: Everything starts with my personal journal, which I keep religiously. It records mostly the humdrum of everyday visual observations, mundane things, and even absolute nonsense. These mundane thoughts, when compiled over time, can be absolutely insightful. They help me conceptually triangulate a subject with depth and nuance.

The rest of my visual process is mostly iterative, involving shooting, editing, printing, and sharing repeatedly until I am ready to publish a project. This process is where I often fumble and have the most difficulty balancing, as most of my projects are inherently recollections and retrospective in nature. I sometimes spend years finishing a project, but I attribute that to the nature of time images and how time can only be perceived, not necessarily quantified.

AV: Is there any particular message you want to convey with your work?

VN: A consistent thread in my work is the sense of longing and belonging, or lack thereof, in the experience of an alienated outsider and immigrant. This remains a truth that persists in my transitory existence, where life and belongings often have to fit into two suitcases. In today’s media landscape, there is a tendency to simplify and quantify every aspect of our lives, especially in the digital age. This reduces one’s humanity to easily digestible bits, often overlooking the nuance and complexity of our individual stories.

Belonging, in the sense of place, resonates with me on both an individual and collective level. It involves rationalizing the decision to leave one’s home and forgo a sense of belonging.

AV: What are your professional and creative goals?

VN: My goals generally fall under bettering and mastering my craft. I am researching historical and alternative processes, particularly the 19th-century wet collodion process. I have put together a stable chemical recipe and custom specialized equipment, but I am still working on making the process feasible outside the darkroom.

More generally, I aim to continually share and learn from peers, whether in workshops or informal forums. Learning from others and sharing knowledge is crucial for creating a nurturing and uninhibited collective space.

AV: What do you consider your biggest career achievement to date?

VN: I believe I still have a lot to explore and learn, so I don’t point to monumental milestones. However, I take pride in the extensive network of collaborators, mentors, and colleagues from around the globe that I’ve had the privilege to work with and learn from. They are the giants whose shoulders I stand on today.

Among my projects, “Press Play” holds a special place. It wasn’t the first project where I led the camera department, nor did it garner significant accolades, but the team and the conditions we worked under made it a remarkable experience.

Last year, I was happy to be recognized with the Denis Roussel Award for my work in cyanotype “Finding a Place Elsewhere.”

AV: Do you have any upcoming exhibitions or projects?

VN: I am currently working on a photo book project called “Finding a Place (Elsewhere),” connected to my work presented at the Denis Roussel Award, which elaborates on the state of longing and belonging within and outside of a homeland. Some sequences are on my website, and I’m in the process of finalizing many aspects. I welcome any comments or feedback.

AV: What steps were important to achieve success in your career?

VN: Success is a constantly moving goalpost, so it’s important to acknowledge that it cannot be a singular point in time. Constant growth is integral to success, but contentment and relative perspective are more helpful as guiding principles. Regularly taking stock of what one has gained and grounding it in reality is crucial, as it’s easy to focus only on shortcomings and not on achievements.

AV: What is the biggest career challenge you’ve faced?

VN: Like many others, the biggest challenge surrounds burnout and maintaining a good life balance. Artists often struggle with balancing work and life, and the creative process can sometimes enable unproductive tendencies. An eclectic approach with multiple streams of creative outlets helps broaden horizons while compartmentalizing space for self-growth and professional growth.

AV: What advice would you give to those looking to work in your field?

VN: An eclectic aspect is essential. Artistic inspiration often comes from everyday life, so learn as much as possible about the world, not just the practice itself. Crossing into other disciplines in the arts helps enter a fluid headspace and operate beyond the limitations of a singular discipline.

Additionally, put yourself out there. Artists often have perfectionist and introverted tendencies, but it’s important to balance perfecting work with putting it out there. Art needs to respond to and be responded to in a cultural context, so the work needs to be in the open, engaging in dialogue with culture and critique.

Interview by Adana Vincent

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Gil Shmueli’s journey as a photographer is as dynamic and diverse as the images he captures. Based in Israel, a land of profound historical and cultural significance, Gil’s passion for photography has taken him across the globe. His love for travel is not merely about visiting new places but about immersing himself in the essence of each location, capturing its spirit through his lens. Scroll down and inspire yourself.

#1. A Few words about you?

My name is Gil Shmueli and I can describe myself as a 60 years old advance hobby photographer. I live in Israel and love to travel around the world.

I don’t believe in specific photo gear, so it is no mater with which camera you using, as long as you take your photo with your heart and your soul.

#2. How did you develop your interest in photography?

I liked photography since I was a young boy. I purchased my first camera when I was 17 years old from my pocket money which I earned from my summer time work.

Obviously it was a film camera and I see it as a bless. At that time you had only 35 photos in each film, so you had to think very well before every click. All the years I saw it as a nice and creative hobby. During the years I read several books and study the photo art history. In 2005 I purchased my first digital camera, and two years later I joined to one of the leading photo clubs in Israel. As a team member in photo club, I participated in several photography workshops and courses, continuously keep improving my techniques and knowledge. It gave me a huge push forward and boost my abilities and experience.

I joined to PSA (Photographic Society of America) and to FIAP (Federation Internationale de I’Art Photographique). Both these organisations running international photo competitions and exhibitions. I started participate in these competitions and it promoted my photographic abilities a lot. With hard work and successful photos, I deserved the honour award of Excellence PSA and Excellence FIAP distinctions.

A few years ago I joined to online photography game Gurushots. It is a great fun and joy. It is online and any one can participate from totally beginning hobbyist to professional photographers with high end equipment. I saw how beginners win the challenges with simple gear or mobile photo.

The variety of the challenges fit to everybody and each one can find something which fit to his interest. For me it was a great opportunity bring myself to expression in many different photo styles, genres and photo aspects. It increased my creativity. I never stop learning, grow and improve my abilities.

#3. How did you get interested in nature photography?

Nature it’s something which exist deep in each of us and we all connected to mother nature from the birth, so it is naturally make it as comfortable and easy place to start. Nature surrounding us all and even in modern crowded cities, you can always find some type of nature like parks, lakes or flowers gardens. Nature it’s the butterfly, it’s the flower, it’s a bird on the branch and it’s the wildlife, the landscapes, the beautiful sunrise – sunsets. For me the nature is me.

Although the nature is all around, I always looking for something more interested than the regular photo. I find myself leaving the home in darkness, while all others is still sleeping, not afraid the outside rain, the storm, or crawling in the mud in the cold winter, cover myself with camouflage net in hot summer day, or stung by mosquitoes – and all that for the better and interested nature photo. I don’t like to look all the time to the backscreen and see If I succeed to got the photo. There are a few special photos, that you know you got them, even without looking and check it – you just know you have it. For these photos you know that all the hard work, the rain, the mud and the mosquitoes was worth it.

#4. What catches your eye to produce such wonderful photographs?

I believe in creativity, and in order successfully do it, I must bring to my photo the added value, what we commonly call as the X factor.

Don’t take the photo – Create it. Taking a regular photo by pushing the button, is just copy of the reality, something that I call as tourist style photos. To call myself advanced photographer, I must bring more than a copy, so I always looks for some special spots, special angles and trying to bring my point of view. I always look for the story behind the visual and try to bring it out and express it from the photo. I never stop reading between the lines and look for the unwritten story behind the image. The question to what catch my eyes is the unseen story which I have to reveal.

#5. Could you please share your post-processing techniques?

I believe in post-processing and think, that it is very important and no matter which photo gear you using. My years of experience in photography taught me that the best post-processing technique actually begins before the shooting. You must do it by better learning and understanding of your photo gear and correct setting of the camera, according to the desired photo subjects.

Prior starting the actual editing, I download all the photos to “untouchable” safe library and keep it as the main source file. I never deleting the source file and never change it, since what is correct for me today doesn’t mean will be correct for me also tomorrow. Later on, I copy the better and desired photos to work file and editing from there. With the time past by, I learn more and get more experience in editing. Sometimes, even years later, I go back and perform a different editing to the same photo, so I must keep the original file.

Today, I taking my photos in RAW, and I open my photo by using Camera Raw. I don’t believe in batch editing so I work on each photo separately. I have different editing methods and techniques for different styles of photos, so night photo, landscape or portrait photo each one has its own kind of techniques and tools. Most of the editing done with Camera Raw and sometimes for the fine editing I use complete it with Photoshop.

Usually In the base editing, I start with general adjustment. I open the Light section, in which I adjust the contrast, highlights, shadows and if necessary also using with white and black. Then I move to Color section, where I adjust the temperature, vibrance and saturation. From here I move to Curve, where I try to balance the histogram. The additional base tool is Calibration section.

At this point, most of the editing is completed and I can use with other tools for delicate and precise adjustments such as skin tones in portraits or correct drama view in black and white photos, or specific preferred filter for landscape photos and many more.

#6. Your favorite photographers?

I can’t say that I have a Favorite photographer, but during the years, I exposed myself to the leading photographers, which I believe many of the readers familiar with them, such as Saly Mann, Henri Cartier Bresson, Ansel Adams, Helmut Newton, Annie Leibovitz, Robert Capa and many more. What was important for me, was not to copy them or to be like them. For me was more important to learn from them, try to understand and follow their line of thoughts and with these tools create my own line and my own point of view. I always says – those who did it before and succeeded in what they did, probably did something correct, so don’t ignore it. Respect them for their achievements and learn from their experience. Each one of them was and still is, is like a Lightower for me and the more I expose myself to their work I find more and more ways enrich my understanding.

There is also a great new generation of young photographers with amazing ideas which I mete on YouTube and really impressed and learn a lot from them. I also exposed to very talented and gifted photographers In GuruShots game and I get a lot of ideas from them. Some of them even became an Internet friends.

#7. One thing you have learned through photography, you would want to share with our readers?

Yes, I have one thing and I see it as a road guide to everything I do in my life – bring passion to what you do and do it with love and desire. Be creative, dare, invent yourself again and again and don’t forget to enjoy it.

#8. What is the best compliment you received so far?

Excellent question, but I’m not sure I have a good answer for such hard question. I can tell you what I really like to hear is, what my pals say to me when we coming back from the same photo session – How did you get such amazing photo, we all been in the same place, how we didn’t see it?

It makes me to feel that I succeeded to get out of the regular and obvious zone and could get to my own point of view and express myself. I appreciate every compliment I get.

#9. Any favorite photography books?

Most of the books I used to read are from 36 mm old Film Era and are not relevant for today. Today, there is plenty of information on line and a lot of tips on YouTube, so it less relevant.

#10. What’s your personal motto?

Observe around you. look behind the visible. Get into your photo subject, learn it and make yourself part of it.

Don’t take the photo – Create it.

Create it in your mind, in your thoughts, in your spirit and only then take it with your heart and your soul.

The technical part is the less important. Make the photo gear be just a tool for the person you are.

#11. Other than photography, what are your hobbies and interests?

In my personal life I’m R&D Electrical team manager in one of the world leading High-Teck company in Digital Printing technology. I like very much the sea, I love sailing so I’m also a Yacht Skipper and deep water scuba diver. I also like deep water fishing. In addition I also a coins collector.

I like to be outside and really like the outdoor travels and as since I remember myself, I always liked to be in the nature, sleep under the stars in the desert, climb the mountains and travel with my kids. I just love live the life and I don’t let them past near by me when I’m looking from the side. I always on the wheel.

#12. Thanks again for providing 121 Clicks with this opportunity to interview you. Any final thoughts for our readers?

Don’t be afraid to do mistakes, don’t be afraid from critics – see it as opportunity for rise and grow yourself from it.

Don’t be afraid to break the rules, create your own photo rules and techniques.

Don’t be afraid to show your art and express yourself. Share your photos with your friends.

Take your photos from the hard disk and participate in competitions, there are a lot of them on the net, such as GuruShots.

Never stop learning. Expose yourself to photographic magazines and online materials.

If you put all my words in one sentence then it will be – Do it with passion, love and desire.

You can find Gil Shmueli on the web:

• Facebook
• GuruShots

Copyrights:
All the pictures in this post are copyrighted Gil Shmueli. Their reproduction, even in part, is forbidden without the explicit approval of the rightful owners.

Through his lens, he captures the essence of fleeting moments, weaving stories that resonate deeply with audiences worldwide. With a keen eye for detail and an unwavering passion for his craft, Ersson’s interview serves as a testament to the profound impact of visual storytelling, inspiring aspiring photographers to pursue their artistic visions with authenticity and dedication. Scroll down and inspire yourself.

A few words about you?

My name is Erik Enrico Ersson and I live in a beautiful part of Sweden. I would describe myself as an advanced hobby photographer that shoot with Canon and pilot a DJI drone. I love testing different photo genres and I´m not afraid to try new things.

How did you develop your interest in photography?

I started playing the photography game Gurushots online with a mobile camera 2018. At first it was fun playing with HDR filters and the saturation lever. The different challenges gave me a chance to try many different types of photography. Choosing the Canon Road was natural since my girlfriend had many lenses I could borrow. I´m now on my third camera and have aquired a lot of hardware down the road; flashes, lenses, filters and god knows what. I try to defend my gear addiction that it will leave me with creative opportunitys for many years to come.

Last year I attended a photography education that really widened my perspectives within the field. I joined the course with the expectation of learning how to take even sharper and technically perfect shots. Already on the second week, when we became familiar with visual poetry i learned there is more to photography than that. Each week we studied a new photographer and I left the course with a much wider understanding of photography.

How did you get interested in nature photography?

I guess many photographers start out by shooting landscapes and a beautiful sunset or sunrise. And those types of shots, with an ND filter and slow shutter speed will always have a soft spot in my heart. I also like to take photos of mushrooms which was my photo project at school. Another type of nature photography, when you sit and wait for the perfect moment, when a bird or an animal show up is exciting but it has not yet become my thing.

What catches your eye to produce such wonderful photographs?

An easy recipe for a great photo is to catch an epic subject in perfect light and gorgeous surroundings. I love scouting stunning locations for landscape shots, if there is some eyecatching structure or landmark I try to be there at sunset or sunrise. For model shoots I love to try out different equippment like filters, prisms, gel lighting or flash to achieve different effects.

I like Beautiful, epic and colorful photos. At this phase in my photography journey I´m not drawn to expressing the ordinary and mundande but have a huge respect that is something that can grow onto you.

Could you please share your post-processing techniques?

I always work with only one photo at a time and never do batch editing. I open it up in Camera Raw, make the global adjustments, gradial filters and colour grading. As far as I have a style it will often include lifting the shadows and lowering the highlights. If the vignette isn´t applied in Camera Raw it will probably be added in Photoshop. I use two different panels in photoshop. One for portraits that follow a workflow that for example include frequency separation and dodge and burn. The other panel is great for masking and also allow me to apply different kinds of effects.

Your favorite photographers?

I appreciate many photographers skills in their respective genres. If I had to pick one it would be Gregory Crewdson for his impressive, large scale conceptual photographs with outstanding composition. Annie Liebowitz doesn´t need any closer presentation, it´s also her composition and the staged photos that attract me most.

Henri Cartier Bresson because he inspired the best. Paolo Roversi is another favourite, his play with light on his models is mesmerizing. Of the modern photographers I admire Jake Hicks for Gel Light photography and Mkcaptured for his new take on Street and Architecture, he created a new edit style which is rare these days.

I recently discovered Brandon Woelfels work with prisms and neon colours and what I like about him and the new photographers that share their work on youtube is that you get a chance to learn more about their creative process and how to achieve these looks.

One thing you have learned through photography, you would want to share with our readers?

Find role models, study the masters, and know what to look for. It could be classic or contemporary photographers, painters or random guys on Youtube. Combine it with your passion and somehwere in that mix you will find inspiration, composition rules and an edit style that will let you express yourself in the way you desire and have your work stand out.

What is the best compliment you received so far?

Tough question since many people have been kinde enough to say my photos are good. A sincere compliment, especially from an initiated peer is always appreciated.

Any favorite photography books?

I seldom read books since there is so much information on the internet and Youtube. But if it´s okay I would recommend the movie “Gregory Crewdson
Brief Encounters” by Ben Shapiro.

What’s your personal motto?

When I was young I moved to Italy to work with my father who was an entreprenuer. Being used to having an employment I asked him how many weeks vacation I would get each year. He got pissed and asked, “what do you mean, don´t you like this? With me it´s always work and with me it´s always vacation.” Guess the latter part would make for a great personal motto for me, something in the style of liking what you do.

Other than photography, what are your hobbies and interests?

I live in a beautiful part of Sweden so I like being out in the nature, and also travel to new places so I can take new photos. Photography have led me into videography and drone photography so that is something I want to explore more. Besides that I like my field of work in digital marketing, spending time with my family and watch a movie or a serie.

Thanks again for providing 121 Clicks with this opportunity to interview you. Any final thoughts for our readers?

Gurushots was a great way for me to take different types of photos, I think that´s helpful for everyone, not start by nisching you down to being only one type of photographer. Attending a school that give you insights in different styles, genres and the work of great photographers will skyrocket your skills and the way you look at photography. I learned there it´s so much more to photography then just taking the sharpest photo and having the biggest amount of pixels. Find what you want to express and the way you want to express it, and have fun doing it.

You can find Erik Enrico Ersson the web:

• Website
• Instagram
• Facebook

Copyrights:
All the pictures in this post are copyrighted Erik Enrico Ersson. Their reproduction, even in part, is forbidden without the explicit approval of the rightful owners.

Thanks, André for accepting our invitation. Please read on…

A Few words about you?

My name is André Miranda, I am Brazilian and a photographer of people (portraits, weddings, events, etc.), but I also have nature photography as one of my favorite hobbies. I also enjoy experiencing theater and dance through my lenses. I live in Goiânia in the state of Goiás.

How did you develop your interest in photography?

Nature has always caught my eye; I’ve always enjoyed admiring the water, the birds, the flowers since childhood. However, I had never considered becoming a photographer. Simply looking at the world around me was enough. In 2014, I took a trip with my girlfriend (now wife), and she had a very ordinary camera.

During this trip, I took my first photographs, without many aspirations, but some of them turned out quite interesting for a first attempt. This caught her attention, and she suggested that I invest in a camera. From then on, I decided to pursue this hobby and bought an entry-level camera with the intention of capturing family moments, both during my wife’s pregnancy and after the birth of my first daughter in 2016.

The family photos became increasingly captivating, but my other passion, capturing performances, wasn’t progressing. I didn’t have the necessary mastery of equipment for low-light photography. That’s why I decided to take a professional photography course in 2018, to gain a better understanding of my camera’s functions.

In that year, I was about to take my doctoral exam at the Federal University of Goiás, and I decided to take the photography course to relax while preparing for the other test. However, something unexpected happened. In the first week of the photography course, I discovered that it was my true calling. It brought me satisfaction and pleasure, and that was when I decided to abandon my academic career and channel all my energies into photography. It was the best decision I’ve ever made.

How did you get interested in nature photography?

Nature photography reconnects me with my childhood. Although I was born in the capital of my state, I lived between the ages of 2 and 12 in a small town in the interior of Goiás called Pontalina, where I had a lot of contact with nature. Today, nearing 40 years old, nature photography is like therapy for me. It’s a time when I can contemplate the sacredness that exists around us. It’s when I come face to face with myself.

What catches your eye to produce such wonderful photographs?

I enjoy admiring what’s around me, whether it’s a waterfall in a neighboring town, the butterflies in my garden, or the birds in the public parks of my city. However, I usually do some research before any photography outing to find out what bird species I’ll encounter in the park or to understand the terrain when photographing a specific waterfall. Although many times, there’s no prior research involved – if I see something happening, I grab my camera from my backpack and start shooting.

In landscape photography, I often think about compositions using Google Earth or look at many photos of the location on the internet to envision my own angles, aiming to make the most of my time when I’m on site. I really enjoy researching locations before heading out to take photos. I always try to capture images with light, neutral backgrounds, free of distracting elements, conveying a clear message to the observer. This is all in the pursuit of keeping the photos as close as possible to the natural context in which they were taken.

Could you please share your post-processing techniques?

I like to edit my photos in two stages. In Lightroom, I work on the color, contrast, and lighting of the photographs. In Photoshop, I add sharpness to the images, and finally, I use Topaz DeNoise to remove noise from the images. This is necessary because animal photos often have high ISO settings. I use this last software in conjunction with the others. I always strive to keep the photos as close as possible to the natural context in which they were produced, so that the observer can feel like they are part of the photographed space.

Your favorite photographers?

My favorite photographers are:

• Araquém Alcântara
• Steve McCurry
• Sebastião Salgado
• Luís Valadares (GS)
• Flávio Souza Cruz (GS)
• Tiago Schön (GS)

One thing you have learned through photography, you would want to share with our readers?

Photography has the power to connect us with the essential, the poetic, and the sacred, whether by capturing a person, a family, a couple, or nature. Photography speaks about our life experiences, about how we perceive the world, and the message we are conveying to our clients, family, and friends. It is a guardian of memories that has the ability to take us back to the past, reliving experiences or revisiting places that have emotionally touched us.

What is the best compliment you received so far?

The best compliments I receive come from my three daughters (they are currently 7, 4, and 3 years old). They make a point to see each of my nature photos and are quite honest about whether they like them or not. But when all three of them like a photo at the same time, they shout, “WOW, daddy! How beautiful!” There is no better compliment than that.

Any favorite photography books?

I really like Genesis by Sebastião Salgado.

What’s your personal motto?

“My motto is: ‘I say the real is not in the departure nor in the arrival: it’s nestled in the middle of the crossing’, excerpt from ‘Grande Sertão: Veredas’, one of the greatest works of Brazilian literature.”

Other than photography, what are your hobbies and interests?

I really enjoy reading literature, cooking, and engaging in ecotourism.

Thanks again for providing 121 Clicks with this opportunity to interview you. Any final thoughts for our readers?

I thank you for the opportunity to grant this interview. I would like to suggest to the readers to participate in online photography contests, like Gurushots, as they are fantastic opportunities to learn more about photography, make new friends, and enhance your skills as a photographer.

For me, photographing nature is like therapy. It’s when I can clear my mind from all the day-to-day problems, from all the hustle and bustle that life imposes on us. It’s when I can stop and listen to the sounds of nature, contemplate and capture the sublime beauty that surrounds me. It’s a time to look inward, reflect on what I’ve been doing, and think about what I intend to do. I believe that this perspective could be important for some readers as well. Taking even just 30 minutes away from the frenetic pace of big cities, listening to the birdsong, the sound of water hitting the rocks, can be soothing for our souls nowadays.

You can find André Miranda on the Web :

• Website
• Instagram
• Facebook

Copyrights:
All the pictures in this post are copyrighted to André Miranda. Their reproduction, even in part, is forbidden without the explicit approval of the rightful owners.

How did your journey as a designer begin?

“Design has always been intuitive to me,” Piras says. She studied Interior Design at IED in Milan before pursuing a Master’s in Furniture Design and Manufacturing at Politecnico di Milano. “Those years grounded me in Italian principles: proportion, materials, timelessness. But it was working abroad that really opened my horizons,” Piras shares.

You’ve worked in Paris, São Paulo, and now Milan. What did each place bring to your style?

“Paris refined my sensitivity,” she recalls her time with Kasha Paris. “I worked on high-end apartment renovations in Saint-Germain-des-Prés—very precise, elegant, with a deep respect for architectural history.” São Paulo, on the other hand, offered a new rhythm. “At Studio Arthur Casas, I was immersed in a bold, tropical modernism. There was a freedom of form and emotion that still influences me today.”

She sees her work back in Milan as a fusion of those experiences. “Here I bring together the structured clarity of Paris and the expressive warmth of São Paulo. The result feels both disciplined and lyrical.”

What defines your creative process today?

“For me, everything starts from the human experience,” she explains. “How will someone live, feel, or move in this space? From there, I strip away what’s unnecessary until I’m left with gestures that are minimal yet meaningful.” She gravitates toward tactile materials, pure lines, and a balance of poetry and purpose. “Clarity is always my goal,” she adds.

Can you highlight a few projects you’re especially proud of?

“In Paris, I decorated a historic apartment with custom lighting and a soft, neutral palette that highlighted the original moldings,” she says. “In São Paulo, I contributed to the design of bespoke pieces for residences, blending stone and tropical wood in innovative, sensual ways.”

She also reflects on her time at Minotti, where she worked on styling for Salone del Mobile and international showrooms. “It was about more than just showcasing furniture. It was about curating a dialogue between objects, spaces, and the people who inhabit them.”

What do you believe makes a designer’s work stand out today?

“Authenticity,” Piras says without hesitation. “It’s not about chasing trends but about having a point of view. Clients feel it when design comes from a place of coherence and intent. That’s what gives work longevity.”

Where can people follow your work?

Piras’ portfolio can be found at federicapiras.com, and she continues to welcome international collaborations. “I’m especially interested in projects that sit at the intersection of interiors and product design,” she says.

For Piras, design is not only craft, it is an ongoing dialogue between history, culture, and lived experience. As she shares her story, it’s clear her journey is still unfolding.

Thanks, Isabella Bubola, for accepting our invitation. Please read on…

Could you please introduce yourself?

My name is Isabella Bubola and I’m a photographer, illustrator and graphic designer from Pula (Croatia). I majored in applied arts in 2015 from the Academy of applied arts in Rijeka, focusing on applied graphics. I am a daydreamer with a strong feeling of wanderlust whenever comes summer.

How did Photography happen to Isabella?

I’ve always been a kind of archiver, I wanted to preserve things, memories, and feelings. It started with drawings and diaries, all carefully dated, and that clearly led to my fascination with photography. I purchased my first digital camera at the age of 11; it was a lightweight toy-like camera without a screen, but it was everything I needed to document my life. I didn’t have any plans, nor was I thinking much about photography – I just kept on shooting and enjoying every moment of it. Looking back, I can see how practicing with a toy camera was also a good way to develop my skills. I had to calculate the approximate distance from the subject and discover compositions and lighting by trial and error.

How would you define your style of Portrait Photography?

I think of it as emotionally strong. It invites you to be curious.

Such grace and elegance in your portraits. Few words, please?

What I think resonates with people most about my work is the sense of calmness. That comes from another side of my personality that is most visible in the way I express myself visually because I’m a rather friendly, loud and talkative personality. I also like to make people feel comfortable in front of my camera when I’m taking their photo – I need them to feel they can express themselves freely and without judgment. That’s when the magic happens and that’s why there is grace and elegance – because the person in front of the lens felt equally confident and vulnerable.

How do you make those scintillating moments with dreamlike tones?

By carefully choosing the light and the mood I want to portray. Since I work in colour, light plays a huge role in the colours and the overall mood of each image.

What is the best compliment you received so far?

It’s incredibly honouring when someone tells you that they have started photography because of your work. That makes me really proud and I consider it the best compliment. I also must admit that I was included in a group exhibition that had Peter Lindbergh (one of my favourite photographers) on the jury. He was so kind complimenting my self-portrait photographs that were exhibited on that occasion.

Who are you when no one is looking at you?

A lazy cat covered in heaps of fluffy blankets (but that’s who I am even when someone’s looking).

Which photographers have inspired you?

As I have mentioned above, Peter Lindbergh has always been an inspiration, as well as Tim Walker and Francesca Woodman. I am also inspired by the photographer Elizaveta Porodina and David Uzuchukwu, whom I had the pleasure to meet and photograph last summer. I think all of them capture a unique sense of intimacy with their subjects. Even when you are taking self-portraits, it’s a challenge for the artist to take a photo that is intimate, as well as for the beholder to feel that intimacy.

What camera do you use the majority of the time?

It’s a Canon EOS 600d, with a convenient screen that can be flipped, so it’s a good choice for self-portraiture.

Favourite music?

I love a lot of different music, from hip-hop to rock, but I’m mostly in the mood for a trip-hop. I’ve had the opportunity to see Massive Attack and Morcheeba perform live twice, and I hope I’ll get the chance to see Portishead and Lorde too. Currently, I have XX’s ”Intro” on repeat!

Apart from photography, tell me about your hobbies and interests?

Reading, writing, working out, spending time in nature, with my cats, and with friends. Traveling whenever I can. I also spend at least half an hour every day drawing, be it quick sketches of people I see on the bus, comics or finishing some pieces. Luckily, I have friends who draw as well – so as soon as spring comes, we like to find a cosy spot and chill together while drawing.

Any final thoughts for our readers?

There is always a better version of yourself that you can become.

You can find Isabella Bubola on the Web:

• Website
• Instagram
• 500px
• Behance

Copyrights:
All the pictures in this post are copyrighted Isabella Bubola. Their reproduction, even in part, is forbidden without the explicit approval of the rightful owners.

Interviewed by Siddharthan Raman. If you want to feature on our website with an interview. Please get in touch with Sid on our Instagram account.

Sid: What is your thought process when you do such brilliant double exposure photographs?

Frank: I’m looking for extraordinary architecture and other highlights in an urban ground. I think these skills are best for this kind of photography. I’m looking for the background too. Most suitable are many people, a big crowd.

Sid: How did you get this idea or inspiration to create these kind of images.. because with these style of pictures the risk of producing a mediocre image is really high?

Frank: I’m not the first who create this kind of images. Years ago I saw a photo book where pictures like this, but not self-produced by the artist. She looks at the internet for many images of one motif and overlayed they all together. After I saw this I tried with an old analog camera by myself. It was a process by 2 or 3 years. Today I knew what kind of object works or not.

Sid: Great insight and good to know your inspirations. Could you explain your Tierwald series?

Frank: The Tierwald is an illusion made in my head ;) I want to provoke questions like: Is this fiction or reality? Is this a picture of a warm rainforest or a cold german mixed forest? Are these animals really living in this forest or is it a giant zoo? Is this a fiction of a future without humans?

The forest in these pictures is the famous ‘Teutoburger Wald’ in the middle of Germany and the animals are from different zoos.

Sid: I understand that these are composites made very brilliantly. How do you achieve such results?

Frank: The Tierwald series is a simple formula: foggy forest and an exotic animal. I think both everybody like to see. Together it is a new kind of image what we had never seen. I go photograph in the forest only when it is foggy, sometimes I have been lucky and the sun comes through the fog.

Sid: Good to know. In the coming years, how do you want to evolve and improve your portfolio?

Frank: I think it is a learning process. To more you see images (by your own and from other) you understand what works and what not. I have some ideas in my head for new series, which are not yet mature. There is no easy formula for a better portfolio or great images. But one I know, you must create some new stuff that never seen before. I try to create a unique selling point. Creativity is a hard job ;)

Sid: Totally agree to that. Do you have any particular reason for shooting mostly monochrome?

Frank: I think in black and white photography there is no distraction by strange colors, it’s more directly if you know what I mean. Furthermore, I love the work in the darkroom to control b/w material by chemicals (contrast, pushing, toning etc.). It is easier to develop b/w negatives than color.

Sid: I understand. One piece of advice you want to share with our readers and aspirants. And for people who want to create a unique portfolio.

Frank: Stay persistence, don’t give up, work hard and take your time! There is one thing I learned: It takes time and don’t get impatient!

Sid: Thanks Frank for your time and thoughts.

Frank: Not for that, was a pleasure!

You can find Frank Machalowski on the Web:

• Website
• Facebook
• Instagram
• Twitter

Copyrights:
All the pictures in this post are copyrighted Frank Machalowski. Their reproduction, even in part, is forbidden without the explicit approval of the rightful owners.