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Results Contest: Impressionism

Published by Yvette Depaepe, the 8th of August 2022


First of all, my apologies for this late post.  Last week, the new contest themes were set up, and I totally forgot to publish the results on Wednesday the 3rd of August.  I hope you can forgive me and please send me a reminder next time ;-)

Impressionist Photography is a genre that encourages artists to break the rules by using blurred subjects, movement and crooked lines in the creative process. The impressionist style might look complicated, but it is quiet easy to master.  It is also a fun way to express yourself and that can be seen in the many great submissions.

The winners with the most votes in this contest are:

1st place:  Marjan Mashhadi
2nd place: Hans-Wolfgang Hawerkamp    
3rd place : Gilbert Claes 

Congratulations to the winners and honourable mentions and thanks to all the participants in the contest 'Impressionism'.



'Every day objects dressed in magic' is the currently running theme.
Once you start looking, you will discover photos almost everywhere. You will find there is never ever shortage
of material and determining exactly what to take and you quickly have a selection of unique as well as original digital pictures. 
This contest will end at midnight on Sunday the 14th of August 2022.
The sooner you upload your submission the more chance you have to gather the most votes.

If you haven't uploaded your photo yet, click here.  

Good luck to all the participants.


 1st place: by Marjan Mashhadi 



2nd place : by Hans-Wolfgang Hawerkamp 



3rd place: by Gilbert Claes  






by Esra Belgin



by Thierry Lagandré (Transgressed Light)



by Dieter Reichelt



by Saskia Dingemans  



by Raffaele Corte



by Adolfo Urrutia 



by Derya Doni


You can see the TOP 50 here.  

congratulations! They are all wonderfull in their own way!
Beautiful visual poems!
Beautiful work of various artists, congratulations to all winners

by Editor Michael Steverson 
Edited and published by Yvette Depaepe, the 5th of 2022

is a visual storytelling project by my friend, American photographer Michael Chinnici. This stunning collection of over 300 photographs depicts the changes Cuba is facing as it emerges from more than 60 years of isolation and decay.

Michael’s first 24 trips to Cuba yielded tens of thousands of photographs with thought-provoking and emotional stories and in the process, he's been able to forge several lifelong friendships. Vanishing Cuba is about capturing the past, present, and future of Cuba, and even more so, about capturing the “Soul” of Cuba. He has returned twice more since the book was published.
Michael’s love affair with Cuba and the Cuban people is clearly conveyed in this compelling and beautifully produced love letter to the island nation.

Over the past few weeks, I’ve spent a lot of time with Michael. We’ve discussed Vanishing Cuba, compared notes on documentary and travel photography in general and we talked about what lies ahead. Having, and then compiling these discussions weren’t as easy as we’d hoped. At different points we found ourselves dealing with a variety of obstacles. Early on, much of Michael’s family contacted COVID-19, then a week later we had our own COVID quarantine and testing issues here in South China, during which the entire city I live in had to undergo daily, mandatory testing. We also faced a myriad of technical issues, conflicting travel schedules and time zone constraints. At times I wasn’t at all sure we’d be able to pull it all together. Then, just when it looked like we were about to wrap it up a full day ahead of our deadline, Michael contacted COVID-19 himself. We persevered in the end and I’m happy to share the results here today.

Mike, thanks again for being so gracious with your time to talk about Vanishing Cuba. You know, you might be the busiest guy I know…
Chuckling – It wasn’t the easiest interview I’ve ever done but we made it work. I’m happy to have been able to share this time with you.

And I’m happy to share the success of this project with everyone here. Artists should celebrate artists. This book, it wasn’t something you set out to do. You could say it naturally evolved over the years…
That’s right. I never planned on creating a book. I wasn’t shooting with a book in mind.
It wasn’t until my 20th or 21st trip and after many requests to do a book that I realized what I had created - a wonderful collection of images representative of my love for this extraordinary country’s people, culture, history, and soul. 
I’m not saying putting the book together was easy, it wasn’t.
That said, photographing Cuba has never been a chore, an assignment. The photographs did come easily.
I often say, shooting in Cuba is like being a kid in a candy store.
But I know what I captured is special because I have seen so many other photographers struggle with capturing its authenticity.


'Bread lady'

One of the things I find most enduring about this photobook is that… it isn’t. What I mean to say is that you’ve painstakingly created text for every image, in both English and Spanish. It’s not just a pretty collection of images. I know you felt this was important…
I feel that documentary photography is more powerful when there’s a backstory to help support the image. This all began with Instagram posts and many people told me that they enjoyed the writings.
All art is the viewer’s to interpret. When I am at an art gallery or museum that art is almost certainly going to move me or affect me differently that it will you. However, documentary photography can narrow that gap. It can be more specific, more targeted.
It often tells a story about the person (or people), the setting, building, car, business, tradition, culture, etc. Beautifully written, descriptive text that might include facts and history can enhance the image. Including the Spanish text was indeed important. I wanted to produce the book in Spanish to give Cubans, Cuban Americans, Latin Americans and Spaniards the opportunity to enjoy it in their native language.


'My Sundays'
'Cuban repair shop'

As a documentary photographer myself, I am always cognizant of trying to present the subject matter in a realistic way without it coming across as exploitive or denigrating. I know you took great care to compile these images in a way that, to me, feels almost poetic. To be sure, some of your depictions of Cuba are raw, but at the same time this volume is so beautifully, lovingly photographed. One can sense your admiration of the Cuban people.

I loved Cuban a
ctivist artist Leonor Anthony’s foreword, portions of which I’d like to share here…

“Since the first moment I laid eyes on Vanishing Cuba, I was visibly moved and knew I was the right person to write this foreword. What struck me immediately was the sincerity with which the images represented the authentic people of Cuba—my people, my parents, my family, my ancestors. This book was not the retouched or tourist/photobook version. This book was not a travel book made up of the regular subjects, which are hopelessly and frustratingly few—1950s cars, colorful but dilapidated buildings, and beautiful natural scenery.

These images were not taken from the outside by an outsider, like when we look at exotic animals at the zoo or unusual fish in a tank. These images were taken by someone who, although not Cuban, captured all of us in every single shot; all of it—the struggle, sadness, color, passion, resilience, resolve, and ultimately, the power to adjust to the unimaginable.

 I accepted the honor to write this foreword because this is the most genuine and heartfelt representation of my people I have ever seen. This book is not an exploitation of a political situation, but an exaltation of all the textures that make up our magical island and its people.

 Although the Cuba that most of us know will probably vanish, I am a living example of that special quality that makes us Cuban, which can never disappear or be taken away. Our spirit is made up of our personal struggles and a mixture of all our common ancestors—the Siboney, the Europeans, and the Africans—that live on in every colorful cell in our bodies, for all time.

Thank you, Michael Chinnici, for finally seeing us.”


I mean, when you read something like that you must surely know you’ve accomplished something of what you set out to do, yeah?
Well, when I first read Leonor’s foreword, my eyes welled up with tears before I could finish and I cried the following few times I read it. I think the reason for the intense, emotional reaction was just that. I thought to myself, “Oh my God, she gets it.” Through my photos, she could feel my feelings. I knew then that I had accomplished something very special.
I think the poetic nature of the book comes from my connection to the Cuban people. When there is love, there is magic. Wouldn’t you agree?”

Sure, but I think you have displayed that love better than most could or have. It’s just not that easy!


'The revolution lives on'
'Exotic beauty'
'Havana nights'


What is it about the Cubanos? How do you think it came to be that you are so viscerally connected with a people… a place?
The Cubanos are glass half full characters with half-empty glasses. They have faced struggle, revolts, unrest and repression and yet the people of Cuba are resilient, hopeful and full of soul. I’m no longer surprised but I’m still humbled when Cubans welcome me into their communities and their homes as a friend, without any hesitation.

Your subtitle is, “CURATED PHOTO STORYTELLING COLLECTION”, which is certainly apropos for 1X and our curated format here. I can only imagine the work involved in culling your selections… did you get input from others or did you do it all yourself?
You know I actually struggled a bit with the subtitle  because on a certain level all photobooks are curated, aren’t they? 
Those four words, “CURATED PHOTO STORYTELLING COLLECTION” leave no mistake as to what's inside. I wanted to intimate the time and care that went into selecting the photographs. In the end I didn’t ask for any outside opinions or feedback because I felt like I had a good handle on how I needed to portray Cuba and Cubans. I was so close to it. Now, I did get my wife involved in the process. So much so in fact, that for about a month we literally lived with these photos. They were printed and displayed on four big walls I erected in one room of our house. Over that month we were culling images and shuffling and re-shuffling the order.


'Sky on fire'
'Future Gold' 
'Bullet nose'

You spared no expense in the production of your book. Three levels, or editions, all with museum quality printing done in Italy. Why was that important?
The objective was to produce a book that creatively, emotionally, and historically would last the test of time. To create a handcrafted book that spoke quality and beauty from the moment you laid your eyes on it, to the moment you held it in your hands and turned the pages. I chose the finest quality paper, printing and ink process, as well as bindery and finishing. Italians have a long-standing reputation for superior craftsmanship when it comes to papers, fabrics, and attention to detail, whether it be art, books, or exotic sports cars.

The book is available at Barnes and Noble, The Getty Center bought the deluxe edition. Notable libraries across the world have bought the book for their collections, including such prestigious universities as Harvard, Stanford, NYU, Cambridge, Vanderbilt and Columbia. The list goes on. Did you ever imagine this would happen?
No, never. I certainly never thought about the libraries. I guess, in hindsight, when I think about the effort I put into the writing, combined with the fact-checking and thorough attention to detail regarding the quality of the content, I can now see why there has been so much interest. The book has only been available to the general public and institutions for a little more than four months. When word gets out about the quality of the production, I’m hopeful more universities will buy the book for their reference libraries.
For those who are interested, you can order the book here : 

I’ve not had the opportunity to hear you speak about the approach to documentary photography that you call, “Evoking Emotion”. Before we wrap up I’d like you to tell us a little about that philosophy?
Well, basically, I believe that every photograph we create should evoke emotion. Realistically, that’s not always true nor even possible, especially considering the number of digital photos we take. But it should be the objective. Always.
A great photograph stops people in their tracks and gets them to say, “Wow.” Causes them to gasp, smile, maybe even shed a tear. This powerful reaction is what I call “Evoking Emotion.” Just look at our own best images. You will find that they all evoke emotion to one degree or another.


'A room with a view'
'Vanishing sun'

I love this frame.  I have an affinity for environmental portraits to begin with but when I read your note on this one, how you never said a word to each other, it made the moment somehow stronger for me.  I've experiened similar situations.  Is it somehow better to just walk around a corner and discover someone ready and waiting ... and willing?


'In the zone'

I don’t think it’s a matter of one situation being better than the next. Each unfolds in its own way. When there are no words spoken, it’s the respect and trust that drives the moment. I’ve experienced these interactions numerous times. For me, they are the most precious and rewarding opportunities for environmental portraits.

These young men look to be as curious about you as you as you are about them. This is another instance where you had no dialogue before the shot. It was nervy to take this, they could have reacted so much differently. Do you find this "acceptance" often in Cuba?

'Waiting for the barber'

In Cuba, for the most part, people are very accepting of you taking their photos. There’s mutual trust and appreciation. In “Waiting for the Barber,” I slightly lifted my camera to express my interest in the photograph. A few simple nods gave me the green light. That’s all I needed. I believe that much of this unspoken respect comes from how we approach a photograph. If you show kindness and sincerity, you are more likely to succeed. I’ve had peers who’ve shot alongside me say, “Michael, you have the gift.” Perhaps. Perhaps not. Connecting to your subjects with your eyes is as important, or even more important, than connecting with your camera.


This is the point in the conversation where I would ask you about what’s next, but in this case I already know. As we close, let’s talk some about your next project, VANISHING INDIA. We both have an affinity for India, we’ve even walked the streets of Calcutta together. You once said that, “India is like no other country in the world. It’s like experiencing 40 countries in one”, which is so true. So, when can we expect to see that volume of work?
'Vanishing India'. Yes, it’s a project that I’ve already begun exploring. To be clear, Vanishing will not be a series of titles I apply to many countries and cultures. That would be too commercial. The reason for Vanishing Cuba is apparent. After so many decades of isolation and the lack of change, Cuba will eventually explode with change, which in turn will see much of its iconic and cultural uniqueness disappear. India will change for more natural reasons.
Why the “Vanishing” title? All cultures, as we know them, will transition and eventually change or vanish. Technology especially, will be the most significant driving force behind this. When I say that “India is like 40 countries in one,” I’m referring to all the ethnic, cultural, and religious components that make up India. The thousands of different tribal and nomadic communities that shape the country of over 1.4 billion people. The following 50-75 years will see many of these ethnic groups blend into each other. Thus, the title. The book will represent a Vanishing India as we once knew it (future tense).
So, perhaps 2024 or 2025 for a Vanishing India book.



'Bathing with friends'
'Luminous noorani'
'In deep thought'

Michael, thanks again...
Always a pleasure my friend.

Michael Chinnici is a New York-based award-winning photographer, creative director, and designer. He has traveled the world with camera in hand and enjoys the challenges that various photographic disciplines present. He is the Founder and CEO of Photo Workshop Adventures, a premier photo tour company offering photo-centric cultural adventures in over 150 destinations in over 50 countries. He is a frequent speaker at events where he discusses his “Evoking Emotion” approach to photography.

*Addendum – COVID hit Michael harder than anticipated and while not fully recovered, he is on the mend and improving each day. Our own COVID situation here in south China has also improved, with only a handful of cases now spread across Guangxi. Mandatory testing has been paused and we are once again free to go about our daily activities with few restrictions.


Inspirational work and interview with amazing photos. Thank you.
Thank you both for introducing us to these wonderful images and documentary project.
This is a fantastic set of images in every respect.
Beautiful and inspiring storytelling and fantastic images!
Marvelous, humbling and inspiring story telling. A vanishing Cuba - hopefully vanishing and painfully also.
Wonderful documentary and story. Wonderful and poignant images. Good work.
Great images and it reminds me of my trip to Cuba in 2020 just before the pandemic took real hold. It's inspired me to put up some of images mainly from Havavna and hopefully the curators will like them :-) It is a wonderful destination and I agree that the people are very friendly and photography isn't an issue.
Thank you Michael and 1x for your interest in my photography and my work on Vanishing Cuba. It's been a pleasure. Thank you Yvette for your patience. The book is available online direct from us at
I added the link in the interview, Michael ;-)
Awesome collection of images. Congrats!
Excellent and great! Respect! Thanks for all.
So beautiful and heartfelt! I am eager to see more pictures and live the journey... will get a copy for myself soon. Thank you, Michael and Michael.
This is a remarkable collection. Full of emotions and various stories to tell. Thanks to the editor and those concerned for publishing it. Congratulations to the amazing photographer for being able to give a deep emotional touch to every photo shown here. Regards.
Glad to have your interview published in the 1x magazine, Michael. Congratulations and many thanks for sharing your work on our site. Also a big thanks for your great collaboration with Michael Steverson. You both did a terrific job. Heartfelt greetings, Yvette
Thanks for being so patient Yvette, at one point it seemed like it might not happen!
True Michael, but you both did it !
Thank you Yvette for your patience and for the opportunity to contribute to 1x.
Pick of The Week - Creative Edit
By Editor Peter Davidson (PoTW #22006)
Edited and published by Yvette Depaepe, the 4th of August 2022

                                                                                                     Serenity of Mind by Hardibudi

This weeks PoTW is from the Creative Edit category and is an image from the surreal mind of Indonesian photographer Hardibudi, or as he prefers to describe himself,  not so much a phographer as an visual artist using photography as his prefered form of expression.

It's photography Jim, but not as we know it.
His comensurate skills in the editing of his photographic art creations are sublime.
If you haven't explored  his Gallery  yet, now is the time! 
Thank you so much everyone!!
What a fabulous collection of photographs! Thank you for sharing them.
Amazing 🤩🤩🤩
Amazing photographic art!
Beautiful work , congratulations
Wonderful gallery, such creativity!
Tahniah tuan Hardijanto, memang koleksi luar biasa.
Rough Sea
Tutorial by Giovanni Allievi
Published by Yvette Depaepe, the 3rd of August 2022

Varigotti has many photogenic opportunities for photographers. Winter especially is the peak season for powerful sea storms, and they are not likely to be seen anywhere else in Liguria, Italy.
There is a tiny hamlet named Varigotti in the Liguria region of Italy. It is not a well-known tourist location, but it has a unique charm. Varigotti has a rather tormented history. It was known in the pre-Roman period as “Varicottis." It then became Byzantine and was for centuries constantly under the threat of Saracen and Viking pirates. Disputed between Finale and Noli under the Del Carretto marquises in the twelfth century, it eventually became an autonomous municipality after the French revolution.

'Rough Sea'
Settings: Canon 5D MarkII  .  Canon 70-200mm f/4L  .  f/9

Since I live nearby, I literally rush there when the sea is rough. Despite the fact that I have been doing this for fifteen years, I never grow tired of it. I try to bring home a nice photograph of a big wave each time.

"I prefer to not use a tripod because running away from an incoming wave while carrying one can be very tricky."

When the big waves reach the shore, they can be spotted only a few seconds in advance. I prefer to not use a tripod because running away from an incoming wave while carrying one can be very tricky. Each wave is a fast charging beast and emerges in two or three seconds, so I press the shutter release and follow the wave as it moves toward the shore.

This shot was taken on a November morning at 8:00 a.m. The sun was low on the horizon and lit the scene from the right side. My position was ideal: when the waves broke, they turned into a beautiful, translucent emerald green. In high contrast scenes such as this one, the white foam on top of the wave is likely to be overexposed. I constantly checked the exposure using spot metering aimed at the white portion of the wave. Then I compensated for the exposure accordingly when the lighting conditions changed. The camera was set to Aperture Priority mode at an aperture of f/9 and ISO 200, allowing me to shoot with a shutter speed of at least 1/320 second. This is the minimum speed at which I could avoid blurred images.

The weather was windy and partly cloudy. There was a high risk of getting soaked by sea spray, so I protected the camera and lens in a ziplock bag with a hole for the front of the lens. In such conditions I keep a microfiber cloth at hand since the lens needs to be wiped constantly.

I knew that I would spend all day there, so I brought two fully charged spare batteries and plenty of memory cards (in a typical one-day session, my RAW files can easily exceed 32 GB). Since I sometimes like to shoot HD video too, I also brought my old trusty Epson P2000 portable hard disk for extra storage.

One thing that amazes me is that the big waves come in “sets." About three or four waves arrive every five or six minutes. This gave me a few moments to clean the lens, check my camera settings and relax my arm. When the waves reappeared, I took about ten shots per wave.

After I download my images, I put the RAW files in a folder, make a rough selection of the most outstanding ones and put them in a “keepers” folder. I never delete the unselected photos until a few months have passed so that I can give them a chance to grow on me. Perhaps I will choose them as keepers at a later stage. When I am done with this selection, I carefully inspect each selected file, discarding blurry images. I selected four images from about 1,200 photos I took that day.

I like to keep post-processing at a minimum, concentrating mainly on contrast and brightness adjustments, allowing the light and nature to do most of the job. My post-processing goal is to transform “machine vision” (poor dynamic range, low lens contrast) into human vision (broader dynamic range and a sense of experiencing it firsthand). If the lighting conditions are less than ideal, any attempt to adjust things in post-processing will look fake.

The post-processing for this image was as follows:

In Adobe Camera Raw:

1) Lower the Highlights slider to –100 to make the highlights a bit less bright while keeping the contrast.
2) Lower the Blacks slider to –50 to make the image look less flat. I make sure that the left side of the histogram does not get clipped by activating the Shadow Clipping Warning button at the top-left corner of the histogram.
3) In Sharpening, set the Amount slider to 70, Radius to 1 and Detail to 5.
4) In Noise Reduction, set the Luminance slider to 20.
5) Check the option Enable Lens Profile Corrections under the Lens Corrections tab.
6) Click on the button Open Image, which exports the image to Photoshop.

In Photoshop:
1) Carefully inspect the image, removing dust spots with the Clone Stamp tool.
2) Straighten the image using the horizon as reference.
3) Fine-tune contrast and brightness with Curve adjustment layers to get a balance between shadows and highlights.
4) Add a Hue/Saturation adjustment layer with Saturation set to +25.

1) Study your subject. Observe what is going on around you before pressing the shutter release.
2) Be patient and persevering. It took me some fifteen years to get this shot, and I do not think I am done yet with this subject.
3) Protect yourself and your equipment.
4) When I am working on seascape photographs, I like to listen to one of my favorite albums, Atlantic Realm, by the mythical Irish group Clannad.
5) Enjoy yourself!

I am employed as a software engineer in Liguria, Italy. Although photography is not my main job, I treat it as if it were. Commitment, first-class equipment and a lot of passion are the ingredients for a photographer. I regularly exhibit my work in local shows and on the web.
Beautiful photography - loved reading your insight on post processing and the situation involved in getting the shot.
Great and inspiring! Appreciate your detailed info.
Thank you, I very much enjoyed this article. I've been a wave photographer for many years, mostly with surfers on them. It was nice to read a similarity in process. I laughed when you said you didn't use a tripod, so true! you need to know what you're doing when you're around waves of this size and yes, waves do come in sets, building in intensity and then diminishing until the next set rolls in. Wave dynamics is fun to learn and I regularly monitor period and swell heights. Stay safe, rougue waves are not an urban legend!
Beautifully crafted image. Thank you for the details and well done.
Beautiful image. Would love to see more of your work 😀
E un bellissimo articolo, ringrazio a Tutti due. Si vede, che fai la fotografia con tanto entusiasmo. Grazie.
This photo is breathtaking, there are so many beautiful elements and you've captured the light and the beauty of the wave so well.
Amazing photo, love the sea and all about it ; thank you for the editing tips
Beautiful shot, congratulations
I also like taking pictures of waves in stormy seas. Your work is wonderful. The article was also helpful. Thank you.
Great capture, Giovanni! Love the transparency of the wave and that beautiful light. Congratulations and thanks for sharing your work on 1x. Cheers, Yvette
Evgeniy Popov: modern still life photography

by Yvette Depaepe
Published the 1st of August 2022


Evgeniy Popov has developed his very own style in the category 'Modern still life'.
His work is well composed, well lit, original and renewing.  He has many interesting hobbies beside photography, which is very important to him. Let's go on a journey with him and learn more about the personality behind his work.

'From the series: Light and Shadows'


I was born and always lived in Stalingrad, a big beautiful city on the banks of the Volga. I have a wonderful family, a beautiful wife, a daughter who is an illustrator by profession, and a grandson (a charming robber of ten). I design residential interiors and bring these projects to life. Besides work, I have many hobbies. I really love dance music from the 80s and have a large collection of 'disco' style music. I also collect scale models of cars. My collection contains about 500 models of Russian equipment – cars and trucks, tractors, tanks and combat vehicles, all on a scale of 1:43. Sometimes I use my collection to shoot subject compositions.


 'I brought you spring!'


In addition to all this, I am fond of military archaeology and are engaged in excavations at the battlefields of the Second World War. I think everyone knows the heroic history of Stalingrad. There is no person who has not heard about the Battle of Stalingrad. In this colossal battle, about two million people, both Germans and Russians, died. Many soldiers still lay unburied in fields and ravines. I am a member of an organisation engaged to search for remains of soldiers and for transporting them to have a decent burial at the soldiers' cemetery. Over time, I gathered a whole collection from objects related to the wartime: buckles, awards, buttons, weapons elements. I also sometimes use these items in my compositions.


 'I'm in charge here now'


Sometimes, when inspiration comes, I write small mystical stories on military-archaeological topics.

Along with the others, photography is an important hobby for me. I started a long time ago, back in 1976. My uncle gave me an inexpensive camera and taught me the basics of photography. At that time, photography was a very complex and fascinating process. Films, photo paper, various chemical reagents – it was all so interesting… Of course, I had no idea about composition, about the principles of frame layout, about light schemes and other tricks of professional photography. I just was shooting as well as I could and what I liked. And this situation lasted for quite a long time. In 2015,  I decided to buy a good camera. Before that, I was free to use a simple miniature digital camera. I bought a decent SLR camera! As soon as I got it, it became clear that in order to use the rich potential of my new camera, I needed to learn a lot about the theory of photography. It was such an obvious thought: “I really need to go to study”. So, I went as an apprentice to one of the most well-known photographers of our city – Leonid Toprover. He didn't only taught me how to take high-quality photos, but also explained the rules of composition, and how artistic photography differs from a simple picture. I am very grateful to him, as my first teacher in the world of photography. I mastered a complex SLR camera.

Now the question arose: what to shoot?
There are many genres in photography, so which one should I choose? Or try everything in a row? It's time to experiment. I started with macro photography, but I quickly got tired of chasing agile insects. Then I tried self-portraits and I liked it more and it began to turn out well. But still, portrait has not become my main genre. Then I tried architecture and that was really what I liked as my wife and I travel a lot. I also tried still life quite by accident. I made my first compositions with the archaeological objects I found. It was unusual, and my images with helmets and grenades received positive reviews on different photo sites. I quickly realized that still life is the most comfortable style of photography. You can shoot without leaving home, the main thing is to collect the necessary and original props and to purchase at least a minimum set of lighting equipment.
This genre is not only comfortable, but also quite difficult. My second teacher, Eduard Kraft, helped me a lot in mastering it. He taught me how to exhibit complex light schemes, taught me many tricks that subject photographers successfully use.
Along with technical perfection, I was constantly improving my own style. It was not interesting for me to shoot, like everyone else, jugs and vases with flowers, I wanted to do something unusual. So I have two main directions: compositions made up of glass objects, and compositions of solid opaque objects with complex lighting. I do not seek to have some deep hidden meaning embedded in the composition, it is enough for me to harmoniously arrange my "models" and beautifully illuminate them. I carefully select objects for my works, usually 10-15 variants of the same composition with different objects are obtained, until in the end there is one, the only true, most aesthetic option. So I can say without any doubt, that to me, the technical perfection, the composition and the aesthetics are the most important. However, sometimes I have jobs in which I try to put some feelings.


'Van Helsing's Arsenal'


What inspires me the most are Artists, masters of suprematism.  And of course, paintings by Kazimir Malevich: he had a huge influence on my work.


'Subject suprematism'


Ideas for compositions come suddenly. Sometimes it happens that nothing comes to my mind for two or even three weeks in a row, and it happens that several ideas appear at once in one evening. Then I run to my office, and on a piece of paper I quickly make sketches of the future composition. It happens that both the lighting scheme and the colour scheme are immediately coming up. Then these sheets are lying on my desk, waiting to be executed. I don't have much free time, so I only do photography on days completely off, and free from other duties. Those days are like holidays to me!  And those days - I already can feel it in the morning – have that kind of feverish premonition: 'today I will do something interesting, unusual, maybe something  that no one has done before me!'
And then, a large room in my apartment turns into a dump, tripods with lighting equipment, light-scattering and light-reflecting screens are everywhere, piles of various objects are lying in the corners, from which I create compositions. I turn on my favourite music, usually it's Modern Talking, BoneyM, or Dtschinghis Khan, and start working. At these moments, I completely forget about the time, very often I even forget to have lunch. Methodically, I put into practice all my sketches, trying to make all the compositions, leaving nothing for the next time. And then comes the inevitable moment when you have to put things in order in the room, put everything in its place, put my "models" in the closet. And after a week or two, everything starts all over…


Although I have a lot of work, subject photography is a whole world with a never-ending learning process for a lifetime. This is what I plan to do in the next eternity :) In addition, I really want to finish my project "Ancient fortresses of Russia". Russia has a little more than 50 ancient stone fortresses which are preserved. My wife's task and mine too is to see everything. Of course, these ancient walls are incredibly photogenic, and after visiting these monuments of antiquity, good photographic works remain.
So far we have seen a little less than half of all the ancient fortresses of Russia. If everything goes according to plan, in 2-3 years we will have visited all the places where the old walls and towers have been preserved. Perhaps the audience will be interested in my photos from these trips. Maybe some of them will be published even on 1X.


At the end of the story, I want to show you some of my works that I think are the most successful.





'From the series: Experiments with glass'



'Beautiful and lonely'



'Simple composition' 



'From the series: Experiments with glass'



'White and grapes'



'From the series: Smoke and ceramics'



'White on black'



'From the series: Experiments with glass'



'From the series: Angle of reflection'



'The Corrugated Poem'



'From the series: Experiments with glass'


Great and clean shape Photography.. especially the still life one! Well done !!
Beautiful and creative, well done!
Stunning images/photography. Congrats!
Absolutely beautiful work, congratulations
Fantastic work! Learning. Congrats!!!
Рад был снова увидеть статью с Вами, Евгений! Очень интересный рассказ! даже вспомнил и свою молодость :)) Творческих успехов!
When Photography mixes with Creativity it becomes Art. Congratulations
Evgeniy, you are an inspiration and a door open to realms where only a prolific imagination can dare venture. What an amazing work, what perfectionism in technical details... I am really in awe, Evgeniy! Love your work! Thank you , Yvette, for this most inspiring and amazing Magazine article!
Beautiful work , congratulations
Great story and great work Evgenij, I followed your work on several platforms already, simply love it. It is very nice to hear more about the artist behind this art. Excuse me but I had to laugh a little as I read the way you enjoy in your hobby ( one room, light, props, music from the 80s…) because it was like I wrote this. I am doing this exactly the same way, we even got a radio station here in Germany called 80s 80s radio…and I am permanently tuned in. Your work inspired me to try similar things, please keep on doing like you do, nice greetings to Stalingrad from Frankfurt Germany 🤗🤗
Beautiful story and photos!!
A great series! Very pleasing to the eye. Thanks to Yvette Depaepe for publishing it. Congratulations Evgeniy Popov, you are amazing and inspiring!!
Thanks for your appreciation, dear friend!