I believe that analog film, as a material, is much more natural and responsive than digital sensors and pixels. It can absorb emotions and resonate with viewers' senses. Film photography has the potential to express the intangible, to go beyond physical reality. Admittedly, film is a material which is not particularly permissive of mistakes. However, it allows you to become a true observer, to freeze the moment, to grasp it as it is, without any digital distortion. If it is not what you expected, learn to let moments go because this is the elusive beauty of the sublime. And remember Samuel Beckett’s “fail better”. Besides that, leaving a roll of film you have just finished for a few days before developing it lets you look at the pictures from a new, different perspective. I do enjoy the element of surprise, too.

I particularly like to wander around the city late at night. I have always considered immersing into solitude as artistically stimulating. Maybe that is why I find forgotten, isolated places so appealing. They allow me to grasp and portray loneliness and emptiness. In this sense, the frame is a container for emotions for me. It does not matter that it is only 35 millimeters wide.

Photography, defined simply as the practice of creating images, is inherently inseparable from reality in a much more powerful way than, for instance, painting. Pursuing abstraction in photography requires one to not only be skillful in using light and darkness but also to think differently. In this sense, my photography ideals are internally contradictory. On the one hand, I strive to encapsulate a deeply ethereal and immersive feel by creating images full of color, grain and light. On the other, I pursue a true reflection of the world around me, raw and devoid of artificiality.

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