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by Yvette Depaepe
Published the 5th of May 2025
This months' featured exhibition is titled 'PUPA - It is the Soul that Dances, the Body Follows It' by PacodlaCorte
To introduce his exhibition, PacodlaCorte quotes:
"Turned into a grotesque, deformed caricature, it must suffer the pain of metamorphosis, tearing off the stigmata from itself until it finds, sailing in the sea of its own emotions, of its battered feelings, of the disturbance that terrifies its senses, the simple purity of nature until it becomes air, earth, water, fire. Dance is the body and the body contains all dance, there is no need for colours, nor more costumes than the skin, and the spirit must move 10 cm and 7 cm from the body. In those minutes of dance, the dancer can be a flower, a stone, a chair, or a word. She jumps, rolls on the floor, gets into a fetal position, stands up and opens her arms as if she were on the edge of a cliff, about to fall."
I invite you to explore this extraordinary exhibition and admire the methamorphosis of the dancer ... No colours, nor costumes, just the skin and the spirit of the body.
This exhibition which will be exposed on our opening page / Gallery during the whole month of May 2025.
Click here to see the entire exhibition: [323] PUPA by PacodlaCorte
To trigger your curiousity, here is a small compilation of images out of this splendid exhibition.
the beginning
metamorphosis
shout
light
feel
touch | Write |
 | Bogdan Bouşcă PRO Excellent!!! |
by Editor Lourens Durand
Edited and published by Yvette Depaepe, the 2nd of May 2025
'calmness' by Damijan Sedevic
The idea of simplicity in the composition of a photograph.
It can be compared to showing your home with the intention of selling it. In the case of the show house, it takes a lot of preparation to not only present a clean house, but to strip it of everything that personifies you. The idea is for potential buyers to see the bare bones and use their own imagination to fill the space with their own personality and history before deciding whether they can see themselves fitting into the space.
The same idea applies to Poetry.
Photographer Oriana Ivy wrote “I think it’s safe to say that the greatest poetry uses the simplest words, the simplest syntax, a child-like parallel construction. To be or not to be? And if not that, then: Can I make it more simple? It is one of the most important questions a poet needs to ask during revision. Paradoxically, depth resides in simplicity.” Atticus Review, a literary online journal.
Her thoughts are reflected in this poem by Una Hynum:
ORIGAM
Yesterday I laundered a mouse —
wash, rinse, spin cycled.
She came out a little damp,
lying on her side as if asleep,
tiny whiskers, claws folded,
thin tail, exquisite ears, so complete
as if sculpted from Japanese Kami paper.
If there were children in the house
there would have been a funeral —
match box coffin, bouquet of weeds,
Boy Scout version of taps.
But they are gone and I am old —
I scooped her into the trash.
~ Una Hynum
But how can this be achieved in photography, you may ask?
The short answer is by simplifying the composition down to its bare bones, allowing viewers to use their own imagination and life experience to fill in the story.
* Use a simple background to isolate - homogenous, neutral, black, white, out of focus, sky, lightly textured, anything that focusses the viewer onto the subject and removes distractions.
* Fill the frame with the subject, isolating it.
* Go really close up, even to extent of cutting off edges of the subject, forcing the viewers’ eyes to look where you want them to.
* Take out any clutter that has nothing to do with the story.
* Use lighting to isolate the subject or to force the viewers’ eye to a focal point.
* Remember the rule of thirds and leading lines, as well as perspective tricks to lead the eye to where you want it to look.
The story itself
This is the difficult part. You need to decide what the story is that you want to tell with your photo; is it the beauty of a landscape, a tale of poverty, a beautiful person, a still life depicting loneliness, ……..
Only you can decide
Take the picture, then cut out the clutter, write the poem in your head, reshoot and let your masterpiece tell your story.
'Kung Fu Master' by Lina Gunawan
'Bonding with god' by Carmit Rozenzvig
untitled by Mikhail Potapov
'Le contrebassiste' by Strugala Didier
untitled by Antonio Grambone
'The Floating Island' by Albena Markova
'Kseniya' by Sergey Khalemsky
'wishful' by Hari Sulistiawan
'something to grab onto' by Antonio Bonnin Sebastià
'Water conversation' by Phillip Chang
'Red Tailed Shrike!' by Sina Pezeshki
'Prunis Avium N°3' by Christophe Verot
'Simplicity' by Stephen Clough
light and darkness' by Gilbert Claes
… by Shihya Kowatari
'Out of the fog' by Bor
'Lily Grace' by Annie Whitehead
'The Name of The Rose (Umberto Ecco)' by Heike Willers
'Symphony unfinished...' by Thierry Dufour
'Little secret' by Wil Mijer
'Lost' by Jimmy Hoffman
'Asian elephants' by Pedro Jarque Krebs
'My New Baby' by Kim Lennert Simonsen
'Like a Family' by Louie Luo
'Focussed' by G. KIRAN KUMAR REDDY
'Bokehlicious Parakeet' by Abhisek Bagaria
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 | Miro Susta CREW Excellent subject with interesting learning session and beautiful photos, thank you Lourens and Yvette |
 | Jimmy Hoffman PRO Great article and beautiful pictures!Thanks for publishing. |
 | sublime !!! |
 | Roberto Miniero PRO Great collection of outstanding photos, thank you |
 | Wanghan Li PRO Perfect article and beautiful collection to help explain the concept! Thanks a lot! Learning. |
 | The ideas and approach, in my opinion, are absolutely correct. And an excellent embodiment of these ideas. |
 | joanaduenas PRO Perfect presentation, a beautiful selection of images, thank you!! |
 | Excellent images! Thanks so much for sharing! |
 | Thank you so much for including my photo in such a wonderful selection.Thank you |
| | Thank you so much for including my photo in such a wonderful selection.Thank you,Best regards..
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 | Phillip Chang CREW Thanks a lot dear Yvette and Lourens ! |
 | Hari Sulistiawan PRO very amazing and a great selection of images, thank you Yvette |
 | Wonderful magazine! |
 | Eiji Yamamoto PRO Thank you so much for the inspiring article with very beautiful and great photos! |
 | Michel Romaggi CREW Great choice of images. Thank you Lourens. |
 | A very interesting article and a beautiful selection of images. Congratulations! |
 | Les Forrester PRO Minimal in so many photographic genres is art, deciding what to leave out can be part of the journey to successful minimal work |
 | Gilbert Claes PRO Nice selection... Thank you very much for pubishing... Cheers |
 | Pang Teng Lin PRO Beautiful series |
 | Anna Cseresnjes PRO superbe collection ... congrats |
 | Thierry Dufour PRO Thank very much Yvette and Lourens for choosing my image. Best regards !!! |
by Editor Michel Romaggi in collaboration with the author Alexander London
Edited and published by Yvette Depaepe, the 30st of April 2025
Dear Alexander, could you briefly introduce yourself and tell us how you came to photography?
Hi, my name is Alexander London and I've been sober for about nine years now. It started innocently enough: I just wanted to remember things. A few photos here, a few melancholy sunsets there. Then came the rabbit hole, wide open, bokeh and full of shadows I didn't know were mine.
I'd always wanted to create, but I wasn't good at it... so I started capturing instead. Photography became my way of making something without having to invent it.
I didn't become a photographer. I became someone who couldn't explain what was happening without a shutter. Words felt like a betrayal. Photons, however, were honest. Sometimes too honest. You see the reflection of a stranger in a café window and think, "Wow, they look lost". Then you realize it's you.
Photography became the only way to keep my inner apocalypse from spilling over into polite conversation. I couldn't draw. I couldn't write consistently. I couldn't sit still.
But I could click: Frame, crop. Chase the light, as if it owed me money.
'Shinjuku Blues'
So now I shoot. Not because it makes sense. But because it prevents things from making too much sense. And that, ironically, is how I found my voice.
Through a medium where nobody talks and nothing has to be explained, so in complete contrast to that, let me explain to you:
Instagram was. A golden age, when it was just one photo, in order, no dancing, no reels, no algorithm trying to sell you trousers you googled once in 2014. Photographers vibrated quietly, posting single images like monks with DSLRs.
@spatialflow was there, doing something strange and inexplicably amazing. Painting cities with colours that belong in dreams. Before (or during?) @liamwong's reign of cyberpunk elegance, @spatialflow made Tokyo look like it had been designed by a synthwave deity.
Naturally, I did what any aspiring night goblin would do: I approached him with the most passive-aggressively flattering question you can ask a photographer.
"Nice camera. It's probably just the camera, isn't it? So, er, what is it?" He was polite: Panasonic Leica 25 mm 1,' an Olympus OMD em 5.
A camera so affordable that even my overdrawn bank account sighed with relief.
I bought it. Waited a few days. Held it in my hands like Excalibur, expecting instant greatness. Instead I got confusion, a menu system designed by eldritch beings, and the creeping feeling that I might not have a clue what aperture was.
There were meetings. Neon nights. People dressed like characters from films I pretended to have seen. Someone asked me to photograph them. I said yes and panicked for 48 hours.
In trying to imitate others, something strange happened, a style began to whisper through the noise.
Nights are kinder when viewed through an f/1.4 lens. Cities open up, colours bleed. Everything looks like it's apologising for the shitty day. I began to steal hues from other night crawlers. Reflections. Halos. Purple shadows. Orange sorrows. Slowly it all made sense in a way that can't be explained without alcohol or poetry.
Somewhere along the way I was featured in Streets of London, a book by Mendo, which was surreal and beautiful and made me feel like I had fooled everyone for a moment. Apart from that, a few shoots, some modelling work, but no, I'm not a professional.
And I don't want to be. I'm an amateur. From the Latin amator, lover. I love it. The way people love stray dogs or songs that remind them of cities they have never visited.
That was nearly nine years ago. Since then I've been chasing light like a madman. Lugged far too many lenses across Asia. Shot in typhoons, missed trains, ruined shoes.
Only to learn the truth: less is more. Your equipment is enough.
Photography isn't a dig for buried treasure. It's lightning in a beer bottle. It's not something you plan like an expedition, it's something that happens when you're paying attention or not.
What equipment do you use for your night shots?
Mostly the usual suspects. 99% of the time it's a Sony A7IV glued to a 16-35mm, although to be honest I live with the 35mm like some kind of focal length monogamist.
Occasionally I'll flirt with a 50mm or 85mm, especially the 85, which compresses reality in a way that makes the world feel like a film I've already cried over.
Night doesn't wait for you to think. It punishes hesitation. So I shoot fast, crop shamelessly, and sometimes switch to APS-C on the fly, like a thief trying on different disguises.
I'm not precious. The shot is more important than the math.
I recently flirted with the Fuji XT5 and a 56mm, some of the images floating around might be from that little affair. The Fuji colours really do have that cult glow, as if someone had turned the melancholy up to eleven and sprinkled it with nostalgia dust. But honestly? Anything works if it's fast enough to keep up with my attention span and the chaos of the city.
Lately I've been experimenting with a 28mm. Wide. Unforgiving. Wonderfully stubborn. Someone once said, "If a piano had an unlimited number of keys, there would be no music in it".
Photography is the same. The fewer notes you're allowed to play, the more you learn to sing.
How do you choose the locations?
The call of the night. The hunt. The deeply irrational urge to leave my apartment at 1:37 a.m. because a streetlamp might cast shadows in the form of a philosophical crisis.
Whatever you want to call it, it's not a method. It's a symptom.
I live in London. It was once a dream. Fog, rain, and the promise that somewhere between the Victorian architecture and the corner shops I'd find magic. But dreams have a way of unpacking themselves and becoming flat-pack furniture. Now I walk the same streets and think, "Ah yes, the 50 shades of London sky".
It's strange. I'm not from London, but I can't see it clearly anymore. It's like when you say a word too many times and it stops sounding like anything real. London has become that word.
So I looked east.
Japan became the next dream, one wrapped in neon, vending machines and the kind of visual poetry that makes your soul cry out for subtitles.
Through a camera lens, it didn't just glow. It hummed. Even the mundane had this strange cinematic weight.
Salarymen. Alleyways. Cigarette smoke curling up as if it had a backstory.
I don't go to certain places. I go to certain feelings.
I chase motifs + light like it's a rare Pokémon.
People walking through harsh fluorescent rain. Red traffic lights in empty streets. Silhouettes in ramen bars.
I don't map places, I map moods.
Tokyo has no rival. No city bathes itself in so many shades of emotion. It doesn't just light up, it acts. Every lamp, every sign, every screen is a character in a silent play that only the cameras can hear.
You often have a special and interesting perspective for your pictures, could you explain what drives you to make these choices?
Quick answer: longing.
You know that feeling when you're on a train at night and it's raining and the glass reflects your face back at you, half real, half ghost? That's the perspective I'm always chasing.
I don't think it's about angles or clever compositions. It's about longing. It's about searching for a version of the world that feels like a memory you haven't made yet.
Cities are full. Packed. Lights. Advertisements. People rushing past each other like waves that never touch. But somehow, in that chaos, I still manage to feel alone, like I'm the only person watching a film everyone else is acting in.
So I frame my shots the way you look at someone you'll never speak to again, through glass, across the distance, slightly out of focus. I look for reflections, silhouettes, backs of heads, doorways. Fragments. Because that's what love feels like in a city.
Fragmented. Romantic, but unattainable.Sometimes I crouch. Sometimes I shoot from too far away. Sometimes I stand in the wrong place for too long, hoping for the right
person to walk through the light.
What drives me on is that tiny thread of invisible connection, me on this side of the lens, and someone else somewhere who might feel the same.
In a Wong Kar Wai film, people pass each other endlessly, never quite touching, always almost.
That's what I'm trying to photograph: the almost.
'Taxi Driver'
What kind of post-processing do you usually use to get these often old-fashioned colours?
Lightroom is like a cigarette lighter in a rainstorm. Useful, yes, but it's not the flame that matters. It's what you light with it.
I think colour grading is like memory, it doesn't have to be exact, it just has to feel true.
The tones I'm chasing are not what the scene looked like. They're what it felt like to be there, alone, probably listening to a sad jazz track that nobody asked for, wondering if someone else, somewhere, might be walking through the same kind of light.
I am drawn to the old way of looking, because the past always feels warmer. Like a film that's aged under someone's bed. The colours are softer, almost apologetic. Blues that hurt. Reds that breathe. Shadows that don't just hide things, but hold them.
People ask me for presets, and I get it. We all want a shortcut to emotion. But my edits are constantly changing - depending on the weather, the level of sadness, and how much sleep I've lost thinking about light bouncing off wet concrete at 2am.
I push the tones until they hum like a broken heart in the background.
Standing in the same place doesn't produce the same photograph. Because the colour isn't in the lens - it's in what you wanted to see.
Two people can look at the same neon alley and walk away with different ghosts.
So yes, Lightroom helps. But it's not what gives the colours. It's just the place I go to remember what it felt like when no one was looking.
Thank you, dear Alexander, for exposing your soul to us and for taking us with you on your nocturnal wanderings, which provide us with such exceptional good images. ~Yvette Depaepe~
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 | Yun Thwaits PRO "I don't map places, I map moods." This very intersting interview touched my heart! Personal, deep, and honest, with great street images! Thank you Alexander, for sharing your soul with us! Thank you, Yvette and Michel, for bring it to us! |
 | garyholman PRO I really enjoyed this interview which was so honest and personal. Your thoughts and words were gripping, and your images are Wonderful! Congratulations! Alexander and Thank you! Yvette and Michel. |
 | Andy Bauer PRO Thank you for this deeply personal and open interview. It truly is something special – in fact, it reads like a journey through a neon-drenched night in Tokyo, where every side street offers a new glimpse into something unseen. |
 | Yvette Depaepe CREW Thoughtful reaction, Andy ... You expressed so well the essence of Alexander's personal journey through a neon-drenched night in Tokyo. |
 | Gabriela Pantu PRO This interview is really special, I am glad to discover your wonderful work, dear Alexander, and to read about your emotional journey.Congratulations and thank you for sharing.Thank you dear Michel and dear Yvette for bring it to us. |
| Yvette Depaepe CREW A real pleasure to us to present Alexander to our readers, Gabriela! |
| | Eiji Yamamoto PRO Thank you so much for a very interesting interview with great street perspective photos! |
 | A most interesting and thought provoking article and images. Thanks for sharing Alexander, much appreciated! |
by Yvette Depaepe
Published the 28th of April 2025
To Fotomarion, photography is a challenging hobby that allows her to relax after a hard week at work. She loves capturing the mood and colours of nature. She is also fascinated by modern architecture and strives for technical perfection and precise alignment in this category. Her passion for photography allows her to fully express her creativity in both genres.
Let's find out more about the person behind these excellent photographs through this interview.
'life is colorful'
Dear Marion, please introduce yourself and tell us more about yourself, your hobbies or other projects you're involved in!
My name is Marion Liebmann and I live in Germany. My hometown Hohwacht is located directly at the Baltic Sea and I spend a lot of time there. Hohwacht is also a very popular tourist destination and I support our tourist agency with atmospheric photos of our region.
This photo was taken one morning on my beach. I live about 5 minutes walk from this place. It doesn't hurt to get up early for the sunrise.
'the fisherman'
When and how did your photographic journey begin?
I started with digital photography in 2008. I started with Nikon by chance and I've stayed with them ever since. I now shoot with a Nikon Z, a mirrorless camera, and I'm very happy with it. As I had a close relationship with a professional photographer in my early days, shooting in RAW format was a given from the start. Post-processing in Photoshop was also a given.
I also learnt to shoot in manual mode from the start, which was very challenging in this package as I had absolutely no idea about aperture, shutter speed and ISO and how they related to each other. I was completely unfamiliar with film photography.
Living less than 700 metres from the Baltic Sea, the sea was my subject in all weathers and I shot every day for the first few years. A friend said that I probably slept with my camera in bed and that it had grown on me. So I gradually learned to use the technology with confidence.
For many of us, photography is either a hobby or a way of life. How would you describe your relationship to photography?
For me, photography is a challenging hobby that helps me relax after a hard week at work. However, I also accept commissions so that I might be able to buy a new lens. When I'm outdoors, it's a very exhilarating feeling to capture the mood and colours of nature.
What would you say has been the most important experience that has influenced your photography so far?
Through photography and the various photography forums, I've discovered many interesting people and travel destinations, as well as the many ways that photography offers to express one's creativity.
You have your own style, but your work is very diverse. Can you explain why that is?
I do architectural photography as well as landscape photography.
Nature was my first subject because I live by the sea and the nearest interesting city is a two-hour drive from my home town. I've also been drawn to nature, especially the sea, since childhood. The silence and the special atmosphere have a very meditative effect and I can relax there very well.
Since I also like to develop myself, I needed another photographic subject, and architecture has always fascinated me. Especially modern architecture or special perspectives that reveal an object only at second glance.
I have one style in common with both of these photographic subjects: straightforwardness.
'stormy day'
'white room'
What is more important to you, the mood/story behind your images or technical perfection?
I can't answer this question with either/or. In landscape photography, the mood is more important to me, but in architectural photography, technical perfection is extremely important to me, because my architectural photographs have little to do with 'mood' and more to do with precise alignment.
In landscape photography, I love the tranquillity and colours that nature can conjure up, and I enjoy these moods myself. The photos are then taken 'on the side' and I enjoy and remember them on the computer when I develop them.
'the bridge'
What is your general relationship to your subject, apart from being an observer?
Usually I'm also an admirer, a lover of my subject. It doesn't matter if it's nature or architecture. In architectural photography, I'm also an 'explorer' of the subject, looking for special and sometimes abstract perspectives. I like to leave landscape photographs unaltered. Of course, I also develop them on the computer because I shoot in RAW format.
'the white wave'
'lines'
'under a big cloud'
Do you carefully prepare the locations you want to photograph?
I prepare for city trips/architectural photography trips by marking the locations on Google and noting the photo and location in Excel. I also note the opening times and add information such as "public access", "I have to sneak in here", etc. I'm not always sure what kind of photo will come out of a place. Sometimes a photo file will sit on my hard drive for a year until I know what will become of the subject.
It can also happen that I realise on location that I'm not connecting with the subject at all and that I'm struggling with perspective. Anything can happen.
When I travel to photograph landscapes, I know where I want to go and how to get there. But you can still be surprised when you get there.
In Denmark we wanted to go to a rock called Camel Rock in a small bay. We knew there was a cliff above it. We didn't know the way down, just that it went down somewhere. On the way we saw a drop that looked quite dangerous. Nevertheless, I thought it must be there and I wanted to go down, but then I got a bit scared when I was halfway down the cliff and was able to hold on to a railing post. My companion went another 50 metres and suddenly shouted, "HERE, I've found the way". I struggled back onto the path and sure enough, the other path was bumpy, but doable. If you didn't know the area, it could have gone wrong.
'The Camel Rock'
For a few years I also concentrated on staircases. They would be revealed to me or I would painstakingly search for them on Google. I wasn't always prepared enough to know whether a door was open or not. That wasn't a problem in museums, but it was in residential or office buildings.
Here I'd sneak in; it was during the coronavirus pandemic and strangers weren't supposed to be in the building. But since I live 900 kilometres away, I had no choice; I put on a mask and went in.
'the spider'
Here's a residential building, and there, too, I naturally sneaked in with a resident.
'the eye'
Often it's luck, and even the best preparation doesn't help.
Where do you find inspiration and what inspires you most?
Most of my inspiration comes from photography forums and social media. The flood of influencers that are quickly accessible via mobile gives me ideas of places that I think are worth visiting with a camera. Connecting with other photographers is also very helpful in developing ideas. But it's important to me that when I go on a trip, I don't look at other photographers' photos. I want to develop my idea and perspective on location, not have a finished image in my head.
'red'
'orange'
Many people believe that equipment isn't very important if you're passionate about photography. However, can you please tell us what equipment you use (camera, lenses, lighting, tripod, etc.)?
Equipment is important to me to achieve a certain photo quality.
This especially applies to the choice of lenses. Fast lenses do make a difference.
I shoot with a Nikon Z8.
My lens collection is quite limited:
Nikkor Z24-70mm 2.8S
Nikkor Z14-24mm 2.8S
Nikkor Z100-400mm 4.5-5.6S
Samyang 10mm 3.5
The tripod is a carbon tripod from Feisol
Tournament Carbon CT-3442
The tripod head is really good stuff with a quick-release plate.
For city tours, I also have a small tripod from Sirui.
What would be your favourite photo? Please tell us the story behind it.
'red apple slice'
I like this photo because I really like its shape and colours. As it's a shopping centre, it wasn't difficult to get there. We only stayed one night in this city and I had almost forgotten about this place. We went there on our way back, but it was hard to find a parking space and I discovered that it was very difficult to get the right distance from the façade. The road in front of the shopping centre was very busy, even though it was closed, so I had to be careful not to get too far onto the road to get the right distance for a good shot. The cars there were going very fast and, as I said, the road was very busy.
We also had sunshine that day with a few small white clouds. Unfortunately, this resulted in strong reflections in the windows and I had to replace the sky with a gradient.
Who are your favourite photographers or mentors whose work has influenced you and your photography?
When I started photographing in 2008, I was experimenting on my own and wanted to take 'good' pictures, meaning the sharpness, contrast and exposure had to be just right. In the beginning, I over-edited my photos and the colours were way too intense. Now my aim is to capture the colours and mood as they were.
For landscape photography, I don't have a particular photographer; there are just a lot of great images of places I'd like to travel to.
In architectural photography, one photographer in particular has inspired me, Marcel van Balken. His photos have inspired me to include people in images, for example to turn a ceiling view into a room or to show dimensions.
However, people are not always included in my pictures! The people in my photos are always from my photos and not from other photographers.
'windows'
'under the bridge'
Basically, I'm trying to find my own style and don't have any 'real' role models. I know a lot of really good photographers that I can't even name here, but I don't want to copy any of them and I try to find my own perspective and interpretation of the subject in every location.
As we're coming to the end of this interview, I'd like to ask you to tell us about any plans or photography projects you'd like to be involved in.
Plans would be a bit far-fetched; I'd like to buy a Nikon Plena and get into people photography. I don't know what direction that might take yet. But I don't have the time for bigger projects yet. I could also imagine publishing a staircase book, but that's still up in the air.
Is there anything else you'd like to add, and what do you think of 1X as a starting point for your work?
For me, 1x is a good platform for assessing how good a photo really is.
'lost'
'the cloud'
'at night'
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 | Excelente! |
 | Caroline Bomers PRO Dear Marion. I admire your work, congratulations! Thanks Yvette for the interview. |
 | fotomarion PRO Thanks so much!! |
 | Very interesting article. Good to hear more about the person behind the photos. Congratulations Marion and also Yvette. |
| fotomarion PRO Thanks so much dear Roswitha! |
 | Dear Marion
I can really relate to your interview. Just like the 'over-editing' in the beginning of my photography (with Snapseed), when I still used my mobile phone and left our family camera in the closet... I posted this on Instagram, where I only saw it in small format via my phone. Until I saw it on the computer screen... But it eventually led us to our greatest hobby: from over-editing to perfectionism in modern architecture. I can get completely absorbed in it, just like you. I forget everything around me and am completely relaxed afterwards.
You take photos that are finished to perfection! Keep it up and enjoy! |
| fotomarion PRO Thanks dear Anita for your kind words! |
| | Thierry Dufour PRO Great work, splendid images, congrats Marion. Thank Yvette for this interview !!! |
| fotomarion PRO Thanks kindly! |
 | Elizabeth Allen CREW Congratulations, dear Marion, on this well-deserved article showcasing your fine work which is such an inspiration. Thanks also to Yvette. |
| fotomarion PRO Thanks dear Elizabeth and many greetings!! |
 | Wael Onsy PRO Congratulations dear Marion, great art work. Thanks Yvette for the interview |
| fotomarion PRO Thanks so much!!! |
 | Yanyan Gong PRO Dear Marion, I am a big fan of your extraordinary work! Congratulations! Thank you Yvette for this interview and beautiful magazine! |
| fotomarion PRO Thanks so much dear Yanyan !!! |
 | Markus Auerbach PRO Hallo Marion,
großartig, Deine Fotos, wie immer !! Und sehr interessant, Deine Antworten auf die gestellten Fragen. Mach weiter so! Und insbesondere Deine Architekturfotos sind auch immer wieder Inspiration für mich !!
Mit besten Grüßen
Markus |
| fotomarion PRO Ganz lieben Dank Markus für Deine Worte, freut mich sehr. Liebe Grüße Marion |
 | Michael Allmaier PRO Sehr interessant und spannend zu lesen. Danke für den EInblick. Die Bilder, wie hätte es auch anders sein sollen, großes Kino. |
| fotomarion PRO Vielen Dank Michael !!! |
| | Andy Bauer PRO I really enjoyed reading the interview because now I finally know who takes those amazing photos I love seeing here. Congratulations Marion and Yvette for this article. |
| fotomarion PRO Thanks Andy for your kind words! |
 | Lucie Côté PRO She’s so much one of my favorites !!! Bravo Marion !! |
| fotomarion PRO Thanks so much for your kind words dear Lucie !!! |
 | Bing Li PRO Beautiful collection, impressed style. congratulations. |
| fotomarion PRO Thanks kindly for your compliment. |
 | Ursula Reinke PRO Congratulations on this great article, dear Marion, your photos are really very inspiring and your portfolio is fascinating! |
| fotomarion PRO Dear Ursula thanks so much for your compliment!! |
| | Les Forrester PRO A wonderful photographer, a very enjoyable insight article |
| fotomarion PRO Thanks so much! |
| | A very interesting interview, along with a spectacular portfolio. Congratulations. |
| fotomarion PRO Thanks so much José |
 | Wayne Pearson PRO Thank you Marion and Yvette for this great story. I loved your work from the moment I first saw one of your architectural shots Marion, as I also LOVE modern architecture, and staircases. Thank you for your inspirational images. |
| fotomarion PRO Dear Wayne warmest thanks for your kind words!! |
| | Wanghan Li PRO Beautiful and artistic works plus fantastic article! Thanks a lot for sharing! |
| fotomarion PRO Thanks so much!! |
 | wiebe wilbers PRO Interesting interview and absolutely marvellous work. Very creative and of stunningly high quality. |
| fotomarion PRO Thanks so much for the compliment? |
| fotomarion PRO compliment ! ;) |
 | Marwa Elchazly PRO Impressive interview and great work |
| fotomarion PRO Thanks Marwa |
| | Eiji Yamamoto PRO Very inspiring! Thank you so much for such a wonderful interview with great photos! |
| fotomarion PRO Thanks so much for the compliment! |
 | Hervé Loire PRO Very interesting interview of a great photographer, thank you |
| fotomarion PRO Thank you for the compliment |
 | Marion, I am a great admirer of your work. and what an honor to read that you mention my name as an inspiration for your photography. Let’s take many more beautiful pictures! |
| fotomarion PRO Marcel thanks so much for your kind words! I'll give back the compliment I love your pictures !! Greetings Marion |
 | Rana Jabeen PRO Dear Marion. Congratulations for the feature..a wonderful interview, love your work...Thank you Yvette |
| fotomarion PRO Thanks so much for the compliment dear Rana |
 | Arnon Orbach CREW Dear Marion, impressive interview which gives some insight into your work. Your gallery of architecture works is very beautiful with very professional editing and presentation. My warmest compliments. Thanks dear Yvette for your contribution. |
| fotomarion PRO Dear Arnon, thanks a lot for your kind words!!! |
 | Stephan Rückert PRO Großes vielseitiges Talent. Deine Bilder sind Inspiration und fesseln den Betrachter! |
| fotomarion PRO Ganz lieben Dank!! |
| | Nice to get to know you a bit better. Love your images! |
| fotomarion PRO Thanks so much Patrick ! |
 | Andy Dauer PRO herzlichen glückwunsch Marion! hoch verdient und toll gemacht! |
| fotomarion PRO Vielen lieben Dank!! |
| | Gabriela Pantu PRO I am glad to know you better, thank you for sharing your thoughts. I love your work and this selection is amazing.Congratulations, dear Marion, and thank you dear Yvette for this great interview. |
| fotomarion PRO Thanks so much for your kind words!!! |
 | Congratulations Marion, a very fine selection of your work and a fine way to know you better ! |
| fotomarion PRO Thanks Luc !!! |
 | Molly Fu PRO Dear Marion, I admire your art pieces very much and am your fan for a long time, you deserve it...congrats!!! |
| fotomarion PRO Thanks so much for the compliment!! |
 | Els Keurlinckx PRO I am a big fan of your photography. Nice to know that your hometown is a holiday destination. |
| fotomarion PRO Thanks Els !! |
| | garyholman PRO Very interesting read with Beautiful! photos. Congratulations! Marion. Also, thanks! to dear Yvette for her contribution with this. |
| fotomarion PRO Thanks so much!! |
 | Ben.C.L PRO Gorgeous landscape, fantastic architecture, really like them |
| fotomarion PRO Thanks so much Ben !! |
| | Miro Susta CREW Liebe Marion, ich bewundere schon seit einiger Zeit Deine wunderbare Fotoarbeit, aus der ich viel lernen kann. Ich gratuliere dir zu dieser großartigen Auszeichnung, du hast es wirklich verdient. Ich wünsche dir alles Gute und weiterhin viel Erfolg bei deiner Fotoarbeit und freue mich auf weitere wunderbare Bilder aus deiner „Küche“. And also many thanks dear Yvette for editing and publishing this interesting interview. |
| fotomarion PRO Lieber Miro, herzlichen Dank für Deine schönen Worte, es freut mich sehr. Viele Grüße Marion |
 | Congratulations, I love your works!.. And great interview 😊👍 |
| fotomarion PRO Thanks so much Thomas!! |
 | Es ist schön zu sehen, daß Deine Art zu fotografieren und Deine hervorragend bearbeiteten Bildern hier die Ehrung erfahren die sie verdienen.
Ich bewundere und genieße Deine Bilder schon seit längerem. Ich hoffe ich bekomme noch mehr davon zu sehen. Ich wünsche Dir weiterhin viel Spaß und Erfolg beim fotografieren.
Vielen Dank, Yvette, daß Du uns diese tolle Fotografien einmal näher vorgestellt hast.
Gruß Herbert |
| fotomarion PRO Herzlichen Dank Herbert für Deine sehr netten Worte!!! Ich freue mich sehr. Liebe Grüße Marion |
 | Tolles Feature und eine wohlverdiente Würdigung! |
| fotomarion PRO Herzlichen Dank Martin |
 | Erhard Batzdorf PRO Glückwunsch zu dieser tollen Ehrung, liebe Marion. Hochverdient, deine Bilder heben sich ab durch die Kreativität und perfekte Bearbeitung. Viel Spaß weiterhin. |
| fotomarion PRO Lieber Erhard ganz herzlichen Dank für Dein Kompliment!!! Viele Grüße Marion |
 | Excellent |
| fotomarion PRO Thanks! |
by Editor Miro Susta
Edited and published by Yvette Depaepe, the 25 of April 2025
Different colours have different effects on our mood and evoke different feelings. The colour red has always been associated with love and passion. It represents action, determination, physical energy, dominance and power. It gives people courage and excitement; it promotes the desire for success and victory.
'Poetry' by Adela Lia Rusu
Because of its expressiveness, it is also used to signal danger or prohibition. Overall, the colour red is energetic, emotional, intense and attracts attention. Red is the colour of fire, the colour of love and passion, the colour of blood and danger, no other colour is so present, strong and intense.
'Tango Argentino' by Holger Droste
Red is a colour that rarely leaves anyone cold.
Some people are excited and nervous by it, some cannot resist it, others only like it in small doses.
What about red in photography, what is the psychological effect of red?
'Bloody River' by Samanta Krivec
'Yellow house with red roof' by Miro Susta
The colour red has a physical effect on the human organism, as it can increase blood pressure, heart rate and breathing. It is an energetic, lively and striking colour, it can captivate, but it can also cause stress, reduce performance, make people angry or annoyed.
'A Precarious POV' by Patrick Compagnucci
In nature, there are many species of birds with striking red colour combinations.
'Vermilion Flycatcher - Male' by Wanghan Li
The peace and beauty of nature is often symbolised by a red sunset.
'Looking for Something' by Faisal ALnomas
As a symbol of love, red roses are everywhere - in florists' windows, on Valentine's Day cards and in romantic films. Red roses symbolise everything that is part of a loving relationship - passion, desire, romance and true love.
'Still life with Fruit and Roses' by UstinaGreen
The eye-catching and active nature of this colour is why it is used on surfaces that cannot be overlooked - warning signs, advertising areas, logos, banners and so on.
'Abstract Facade Compo XVI' by Hans-Wolfgang Hawerkamp
The positive aspects of this colour include strength, energy, liveliness, vitality, even passion and courage, while the negative aspects include boldness, harshness, aggressiveness, arrogance, insistence and a call to action.
'Monks debating' by Yvette Depaepe
'Connected' by Rana Jabeen
In photography, red can be a strong accent colour in an otherwise balanced shot. It works well to capture dramatic moments, passion or dynamism. Red is often used in photography to highlight specific details or subjects against contrasting colours.
Red Devil' by NoBo VieRbert
'Dualism' by Hans-Wolfgang Hawerkamp
Red is an intense colour; it is a warning colour and even a small presence in the picture does not go unnoticed. The viewer's eye unconsciously seeks out this colour and returns to it when looking at a scene or a finished painting.
'Traffic Light VI' by Wim Schuurmans
'The red hat' by Mandru Cantemir
For performance and racing cars and motorcycles that reach high speeds, the colour red is often used.
'Ferrari 488 GTE Evo' by Kohei Kawashima
'Colors and Lines' by Yvette Depaepe
When used in the right way in a composition, the colour red can transform even an ordinary scene into a valuable image.
'Somebody likes it colorful' by Miro Susta
Here are some quotes about the colour red.
"Humans are the only creatures among the living that can blush, and the only ones that have many reasons to do so." ~Mark Twain~
'Dragon' by Ivan Kovalev
"An optimist is a person who sees green light everywhere, while a pessimist sees only red light... The truly wise man is colour-blind." ~Albert Schweitzer~
"SQ/Split-Tone Edition" by Akira TAKAUE
"Please, who would want to live in a city where the only cultural amenity is that you can turn right at a red light?" ~Woody Allen~
'RW ... red wave' by Roswitha Schleicher-Schwarz
"One has to learn all the time. When the sound film started, I had to learn how to talk. And when the colour film started, I had to learn to blush. I fear what is to come." ~Marlene Dietrich~
'Kissy Kissy' by Daniel Springgay
'Two little flowers are blooming on a meadow.One red. The other blue.The blue one said: "Forget-me-not". The red one said: "I love you. ~Unknown author~
'Vogue' by Josefina Melo
To sum up, the perception of red is contradictory. Some people are attracted to it, others are irritated by it, but the fact that this spectrum leaves no one untouched is an undeniable fact.
'Intimacy...' by Magdalena Russocka
Red is the true colour of blood and heart and has been a symbol of love and loyalty in cultures around the world for centuries, it is and remains something special within the colour spectrum.
'Polina and Sonya' by Zachar Rise
Used in moderation, it usually works best. Less is often more! Exceptions prove the rule!
'Khadzhokh' by Mikhail Potapov
Try it out for yourself! The right shades of red can create a wonderful atmosphere in which people feel comfortable and at ease!
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| | garyholman PRO Wonderful! collection of photos and a very interesting article. Congratulations! to all and a big thanks! to Miro and Yvette. |
| Miro Susta CREW Dear Gary many thanks for your nice words of praise, we appreciate it very much. |
 | Kathryn King PRO I see red has a very Asian color, there is so much meaning to the color, even my front door is painted red, not to bring luck but to protect and keep away bad spirits. CNY is also guided by colors, don't wear black and white, it the color of sorrow and death. It is interest to me who the color combinations change in cultures, a fascinating subject on it's own. As an aside, I used to have a Fujix x camera that refused to recreate the proper color red, I always had to go try and fix it. Color Red is a great subject, thanks for writing and including so many fantabulous images. |
| Miro Susta CREW Dear Kathryn allow me to thank you for very nice and inspiring comment to our article, greatly appreciated. |
 | Qinyuan Wu PRO Thanks for the article, great shots! |
| Miro Susta CREW Many thanks dear Qinyuan |
| | Very interesting article of the most interesting colour. Love it. |
| Miro Susta CREW Thank you very much dear Roswitha, glad to see that you love it |
 | Increible articulo, super interesante. Enhorabuena a los autores |
| Miro Susta CREW In name of all authors, I wish to thank you dear Carlos |
 | Kimberly CREW Very nice Miro, I painted my kitchen once a deep red, it was wonderfully engaging and warm for entertaining, love the theme. |
| Miro Susta CREW Many thanks for your very nice comment dear Kimberly, what about to post your kitchen photo here? |
 | Subhajit Das PRO Great work. Very interesting article. Congratulations to all authors! |
| Miro Susta CREW In Name of all contributors I wish to thank you your nice words of praise dear Subhajit |
 | Thank you Miro and Yvette for the wonderful article, and also for choosing one of my photos. Congratulations to all !! |
| Miro Susta CREW Many thanks for your nice words of praise, we appreciate it very much. |
| | Wael Onsy PRO Great collection, i love it |
| Miro Susta CREW Many thanks Wael, happy to see that you like it. |
| | Anna Cseresnjes PRO beautiful collection, thanks to Yvette and congrats to all authors |
| Miro Susta CREW Many thanks dear Anna |
 | Parole Kim PRO Great work, Congratulations 🎇 |
| Miro Susta CREW Many thanks dear Parole |
 | Heike Willers PRO Congrats to all authors! I really love the collection of all these beautiful images! |
| Miro Susta CREW In Name of all contributors we wish to thank you for lovely words of praise dear Heike |
| | Pang Teng Lin PRO Amazing work Congratulations |
| Miro Susta CREW Many thanks dear Pang Teng |
| | Eiji Yamamoto PRO Thank you so much for a very interesting article with great photos! |
| Miro Susta CREW Many thanks for nice words of praise, glad to see that you like it |
| | Thank you Miro and Yvette for a wonderful article, and also for using one of my images. You made my day!!! |
| Miro Susta CREW Many thanks dear Patrick, we are happy to see that you like it |
| | Gabriela Pantu PRO Superb collection and a captivating article.Thank you dear Miro and dear Yvette, always bringing us food for thought. <3 |
| Miro Susta CREW Thank you very much dear Gabriela, we appreciate you words of praise very much |
 | Wonderful images you presents. In the upper top class this here. Congrats! |
| Miro Susta CREW Many thanks dear Jostein, glad to see that you like it |
 | Samanta Krivec PRO Super article and photos.. i see passion - in red.. i also like the quotes.. many thanks Miro, happy to see my photo here :) |
| Miro Susta CREW Thank you for nice words of praise dear Samantha |
 | Mikhail Potapov CREW Great article! Thank you for publishing my work! Have a nice weekend, everyone! |
| Miro Susta CREW Many thanks dear Mikhail |
| | Rana Jabeen PRO An excellent topic...very well written article Miro ..a beautiful collection of photos..Thank you for selecting my photo ..My compliments Yvette and Miro |
| Miro Susta CREW Great thanks for your lovely words of encouragement dear Rana, we appreciate it very much |
 | Gila Koller PRO Wonderful RED collection and interesting article. |
| Miro Susta CREW Thank you dear Gila, glad to see that you like it |
 | Very interesting article and beautiful photographies, congratulations! |
| Miro Susta CREW Many thanks for nice words of praise dear Francisco |
 | Izabella Végh PRO Bellissimo articolo, con fotografie eccezionali. Complimenti agli autori. |
| Miro Susta CREW Grazie di cuore a nome di tutti gli autori cara Izabella |
 | brilliant shots, Excellent Theme |
| Miro Susta CREW Thank you very much in name of all contributors |
 | 大山 儀高 PRO 素晴らしい作品と素晴らしい記事。ありがとうございます。 |
| Miro Susta CREW お褒めの言葉をありがとう |
 | much interesting article and excellent collection of great photos, my compliments dear friend |
| Miro Susta CREW Many thanks for your wonderful words of praise dear Hans-Wolfgang |
 | Daniel Springgay CREW Miro wonderful collection so well thought out and put together well done. Go to the Top of the Class |
| Miro Susta CREW Dear Daniel I am happy to see your wonderful words of encouragement, I really appreciate it very much |
 | Bole Kuljic PRO Outstanding . Fascinating photos with great narrative. Thank you! |
| Miro Susta CREW Many thanks for your wonderful words of praise dear Bole |
| | Wanghan Li PRO Beautiful collection of Red plus the wonderful and educational article! Thanks a lot! |
| Miro Susta CREW Many thanks Wanghan, Glad to see that you like it |
| | Ben.C.L PRO Great edition |
| Miro Susta CREW Thank you Ben |
 | Excellent theme and use of red. |
| Miro Susta CREW Many thanks Francisco |