My serious interest in photography grew in parallel with the development of digital photography. My first digital camera was given to me by my brother and it had a resolution which at that time seemed magical – 2 megapixels. The technology was unstoppable and it wasn’t long before your average smartphone caught up and offered the same level of performance. Technology made it possible for everyone to be a photographer.

I couldn’t even dream that only a handful of years later my interest in photography would grow even more, but that the technology used to make a photo would be completely opposite to what initially brought me to photography. I spent my last weekend alongside the river Kupa, a natural border between Croatia and Slovenia, walking through the beautiful forests of Gorski Kotar and taking photos with the amazing handmade wooden pinhole cameras made by ONDU. It was enough just to hold one of these cameras to make me feel relaxed and in touch with the photographic process. Not only did I not immediately see the result of my exposures – the pinhole design made it impossible for me to even see the frames I was capturing, so I couldn’t even see what I was photographing. It made the process that much slower, thoughtful and – to a certain extent – meditative.

We live in fast times filled with great expectations and it’s indeed a pleasure to do something differently, the way it used to be done hundreds of years ago, slow and relaxed. What are the results? I still don’t know, because the film still needs to be developed. What I’m sure of is that the results will be surprising and different then expected. And that’s the true beauty of any photographic adventure, isn’t it?

Robert Gojević, founder and editor in chief

CLOSE-UP Yevgen Romanenko, Ukraine


The biggest challenge for me is a nude because it’s too easy to cross the line from beauty to vulgarity.

PROJECT Lionel Arnaudie, France


"Bronze” is my second series of photographs. It consists of 10 portraits depicting imaginary characters. For this series, I was very much inspired by bronze sculptures, especially by bronze busts.

WET PLATE Alex Timmermans, Holland


Recently, somebody called me a story-telling photographer. I never thought about that, but he was right. I love to make pictures where the observer can think of his own story.

INSTANTION Wilfried Haillot, France


I have been shooting with Polaroid for 10 years now. When I discovered it, I was instantly addicted. What fascinates me is the results these chemicals can create—unpredictable and surprising at times.



In the photographic series My Affair with Diana, Daniel Grant captures compelling vignettes of women using a Diana: a mid-century plastic camera embraced by contemporary artists for its simplicity of use, expressive results, and iconic square format.

PINHOLE Diego López Calvín, Spain


Solarigraphs or Solargraphs are images obtained by pinhole cameras loaded with black and white photosensitive paper and given long exposures of days, weeks, months, or years. In that period, the sun’s trajectory leaves a linear imprint, which records its trajectory through the day and its different positions throughout the year, while cloudy days leave no imprint on the photo paper at all.

TETRA Marcin Jastrzebski, Poland


The entire “Lonely Landscape” series was recorded on analog materials, using long exposures. The series was produced between 2006 and 2008. The photos were taken by the seasides of Poland, Ireland, Sweden, Norway, and Denmark.

WIDE Debraj Chakraborty, India


As a landscape photographer, I believe that whatever the technique or process, being at the right place at the right time to capture the perfect light and the stunning split-second moment is the key to making a perfect picture.

OPEN Caity Fares, USA


The past two years in graduate school have been spent exploring how the very nature of photography can resemble the construction of consciousness. Building one-of-a-kind cameras out of discarded materials and photographing the land is a way for me to connect with the energy forces present in the world that we can feel, but not necessarily see.

PROEYECT Tamas Andok, Hungary


The photos of Wizards of Autumn are inspired by two things. The first is my homeland, a mountain range and wooded landscape in Hungary called Mecsek. I spent a lot of time in this region, had some great adventures in summer or in the knee-deep snow, or just went out before dawn, as well as hiking and walking in the forest. For a long time, I wanted to visualize some of these dark, mysterious and wonderful feelings, which I’ve often felt there.