"Vejle Fjord I."

"This image takes its name from the bolotnitsa, the bog-maiden of Slavic folklore, but mainly from a book I read religiously as a child, Pavel Melnikov-Pechersky's 1874 novel In the Forests (В лесах). Melnikov describes her like this (rough translation): She schemes, the accursed thing, longing to deceive and lead a person astray - she has settled into that wondrous flower to hide her goose's feet with their black webbing. The moment the bolotnitsa catches sight of a person - old or young, it makes no difference - she begins, in a sweet, soft voice, so plaintively, as if through tears, to plead to be lifted from the bog, brought out into the white world, shown the red sun she has never once beheld. She spreads her arms, throws back her head, and beckons that person to her breast, promising a thousand unheard-of delights, heaps of gold, mountains of rolling pearls."

"Bolotnitsa."

"I was born in Russia, into a Ukrainian Jewish family. Similarly to most post-Soviet families, mine was never religious, but deeply superstitious. My work begins in childhood in the Slavic myths I read as a child. The mythical creatures of those stories kept me awake at night and have never let go. What I want to do through photography is translate that magic of childhood in which anything seemed possible. I aim to create images where the folkloric and the supernatural feel less like fantasy and more like a distant memory. What I'm reaching for is to photograph through the eyes of the child I was, when the world was enchanted and frightening."

Veronika Kina

Albert Einstein

"The mora is the nightmare-spirit of Slavic folklore, the root of the word night-mare. She enters the bedroom through a keyhole or a crack in the wall, often in the form of a moth, and settles on the chest of a sleeper to press the breath from them, spinning bad dreams as she sits. To wake beneath her is to wake unable to move, or speak, or cry out. Here she has already arrived, come to rest across the face in the moment before sleep."

"Mora."

"Vejle Fjord II."

"I’ve never grown tired of photography in the twenty-two years I’ve pursued it, and I don’t imagine that changing anytime soon. This isn’t a loud proclamation so much as a quiet tribute to a loyal companion. It was shortly after I received my first Holga at 16 that I was irreversibly infatuated. The atmospherics captured on film - albeit mostly of my immediate surroundings around my childhood home - were nonetheless intoxicating. Since then, I’ve chosen to remain loyal to the analog approach just because it holds more anticipation. There aren’t too many things that make me giddy in this world anymore, but finally seeing what exists on a roll of film post-development is a bit of magic I cherish and have come to ritualize. Furthermore, I’d say it’s wonderful bearing witness to the way my methodologies and visions have changed over time, which is another gift that keeps on giving. As a teen, I took photos of my friends when we were out skateboarding, with both digital and analog cameras."

James Todd Kent

"Embers over Champlain."

"I used light behind a red welding curtain to create an embodied red glow and background, and placed a small red light inside my subject’s mouth. There is more to this story, but it is still too tender and raw in my memory."

"Something rotten inside."

"I'm currently studying Fine Art Photography at UAL Camberwell, based in Wales and South London. I'm an interdisciplinary artist, with concept preceding medium. However, I also have a purely photographic practice, working almost exclusively on film. I'm deeply enamoured with the rhythm, process, and physicality of analogue photography, and have been shooting, developing, and printing my own film since I was 16. I'm 21 now."

Roxy Bender

Paul Strand

"Stevie Newton construction worker with a keen interest in photography. Abstract is my main passion but I am open to all aspects."

Stephen Newton

"My Goodbye."

Brigitte Polt (b. 1986) is an Austrian-based photographer whose work explores the subtle transitions between perception and reality, between control and chance, between proximity and distance. 
 
Her artistic practice seeks poetic and critical perspectives to explore forms of perception. She studied photography at the Friedl Kubelka School for Artistic Photography in Vienna.

Brigitte Polt

"Through long exposure, light becomes pure expression. Stripped of form, only movement, colour, and atmosphere remain."

"Spectrum in Motion."

Charles Dickens

"My name is Max J. Raulff, and I am a photographer and videographer. I was born in Berlin, with my father being a journalist and a passionate amateur photographer. I first began playing with my dad's Nikon when I was around five or six years old. My childhood, marked by frequent moves across Germany and to the United States and back, offered me early opportunities to discover and document new places and the world around me. You could also say it forced me to become curious. Other than that, my parents' extensive art library and their habit of dragging me through museums became a source of inspiration for me. Early visual memories include Robert Frank's seminal book The Americans as well as Walker Evans' pictures. German street and documentary photographer Barbara Klemm was a frequent guest in our house, a friend of the family, and would also have a lasting influence on me. I picked up my first digital camera during my final years of high school."

Max Julian Raulff

"After I graduated from high school, I took off on my own travels. Like many of my friends, I backpacked across Europe. I did not have any fixed plans, but I had a bunch of cameras with me and quickly reconnected to my love for street and documentary photography. It was probably during these wild, experimental years that I found my own artistic approach. Videography came later, and my first real projects only began in recent years. I guess I always had a lot - and probably too much - respect for the moving image. When photographing people, I always follow the credo "Inside, looking out" - a philosophy of becoming immersed in my subjects' lives and environments to document them from an intimate, inside perspective rather than as an outside observer. My "formal education", to call it that way, took a different path. I never saw a photography school from the inside."

"Flamingos, Italy."

"Born in 1971 in Croatia, now based in Berlin. Has been photographing since an early age. Studied Literature and Anthropology. Loves to photograph compositions created by nature itself."

Hana Buterin

"For a synesthetic person like me, colours are a whole range of emotional and other experiences."

"Pinkish Situation."

Thomas Jenny is an interior designer with a passion for architectural photography. Since starting out with a Canon AE-1, a gift he received in his 20s, he has dedicated himself to capturing the horizontal and vertical lines that structure urban spaces. 
 
His stay in Mexico City in 2018 marked a turning point in his photographic practice, particularly through his exploration of the works of architect Luis Barragán. Then, between 2019 and 2022, while living in Hong Kong, he developed a photographic series entitled A R C H I (HK...), which highlights the city's architectural beauty through plays of lines and colours. 
 
Thomas Jenny primarily creates his photographs on paper, offering his works in limited editions. His work has been exhibited at the French May Art Festival in Hong Kong, as well as in Paris, where he presented his personal and symbolic vision of urban architecture.

Thomas Jenny

"Golden City."

Georgia O’Keeffe

"I’m a photographer based in Maine. I’m drawn to capturing emotional aftermaths and warm moments that feel distant yet lived-in. I started film photography 13 years ago, took a long break in between, and am now excited to continue learning and refining the way I see."

Cedrick Ariza

"Neither sky, nor ground."

Henri Rousseau

Jean-Baptiste-Simeon Chardin

Colours 3

"I was born on 22.12.1999 in Nürnberg, Germany. I studied Design in Pforzheim, Germany, and in Kolding, Denmark. Graduated in 2025, I work as a freelance photographer in the field of fashion, object and landscape photography. Moving to Denmark has been a journey into different Landscapes and horizons. Growing up in Nürnberg, my horizon back then differed so much from the one I see now. The German word "Meeresspiegel" (literal translation: "Ocean mirror") has a romantic standpoint. You see the reflection of the sky and landscape in the water. I am curious about the relationship between humans and the landscapes they live in. How do they shape each other? With plastic bottles washing back to the shore and CO2 emissions in the air and vessels on the horizon, all reflections are drawn by mankind. The images are taken on field trips to coastlines in Denmark and elsewhere as part of my project "Shaped by the Sea".

Maximilian Schmidauer

"Mediterranean Sea."

Colour is one of the most immediate ways we experience an image, yet it rarely stays simple. It is shaped by light, material, and the eye that meets it, often shifting in meaning the longer it is observed. What begins as a visual response can quickly become something more personal; tied to memory, emotion, and perception.

Colour remains unstable, always changing how it is read.