An Interview with Brendan Ó Sé
The Mobile Photography Awards are currently receiving submissions for their 7th annual competition. The iPhone Photography Awards have a call for entries through March of 2018 and the Mira Mobile Prize winner was recently awarded for 2017. These are just a few of the photography competitions available for smartphone photographers throughout the world. When other contests are added, locally and globally, then photo enthusiasts shooting with smartphones have numerous opportunities to submit their creative work for an opportunity to rise to the top.
In the past few years I’ve submitted my own work to these and other contests, on a local and global scale. I’ve experienced the rush of having pieces selected as winners and honorable mentions and the disappointment of rejection. I wondered, as I prepared my entries for yet another contest, if I could gain some insight from someone who has experienced these competitions from two different perspectives. Brendan Ó Sé immediately came to mind, so I caught up with him to see if he would offer a couple of thoughts. An interview ensued which I’m gladly passing on to you.
A word about Brendan before we begin. He is a highly recognized photographer throughout the world with top photos in all of the aforementioned competitions and many more. Brendan was part of the original Apple World Gallery of images shot on the iPhone 6 in 2015. His photography was showcased on billboards and posters in major cities around the world. He has also served on the juror panel of the Mobile Photo Awards and will enjoy that role yet again this year. For readers to gain a greater understanding of his talents I will be including a link to his website and social media connections at the conclusion of this interview.
Apple World Gallery – Brendan Ó Sé
Brendan, I want to thank you for this opportunity. Will you briefly describe your involvement in mobile photography contests?
I’ve been a judge on a number of them now over the past few years. It’s great to be on the other side of things after previously being an entrant. I guess having been fortunate enough to have won in the major mobile photography competitions (MPAs, iPhone Photography Awards and Mira Mobile Prize), the organizers invited me to judge in these competitions. It’s been a great experience, and also one that comes with responsibility to ensure the best images get the recognition they deserve.
Brendan Ó Sé
Would there be any advantage to try to guess what a certain juror is looking for and submit photos according to his/her tastes?
From my own experience I know how hard it is to put together a series of images to enter a competition. The selecting part is easy. The hard part is deselecting. The thing about the MPAs is that Dan Berman (founder) assigns categories randomly to judges. So, it is very unlikely that I would get the Street Photography category. Also, speaking personally – though I am sure it is the same for most judges – I would be hesitant to select an image which people might feel was very similar to my own style of photography, unless it was a stellar shot that could not be ignored.
I probably will repeat myself in this interview, but I really believe you’ve got to go with your instinct on these things and not be guided by what you think judges might like. I know I have entered competitions thinking a particular judge likes a particular style, and entering accordingly. It never works out.
Brendan Ó Sé
How important is the storytelling aspect of submitted photos in contests?
Photos are springboards for stories. Strong images will connect in a way that the viewer can enter the image and allow his or her imagination to build on what is presented.
How does composition figure into selecting a photo for submission?
Hugely. A technically perfect photograph cannot compensate for a poor composition, but conversely a dynamic and engaging composition can overcome technical flaws. For me, photography is always about composition, story and the moment.
Brendan Ó Sé
How daring should a photographer be when it comes to originality? Should all caution be thrown to the wind or is it good to exercise discipline according to the “rules” of photography?
I am not really one for rules. Rules can stymie creativity. Again it comes back to trusting yourself. If you are an experimental photographer and entering the MPAs, there are categories there just for you, like Digital Art/Photo Illustration, Visual Effects and The Darkness.
I think it is a good idea to check the winning shots in the different categories from previous years to get an idea of the types of images that can fit.
Brendan Ó Sé
What do you find are the most common mistakes people make when entering smartphone photography competitions?
Well, the biggest mistake, one which surprisingly does happen, is to enter an image that is not shot and edited on a smartphone.
Other mistakes would be when you have three killer shots of the same person or the same location, but they are all in essence just variations of the same. Don’t enter the three. You are diluting your chances, as all three will not be selected.
Take some time to check previous winning shots in the different categories to see if your shot is a match in type. Often entrants will post photos that just do not fit the category. In saying that, I must commend Dan for ensuring high-quality images entered in the wrong category do not get looked over.
Brendan Ó Sé
Do you believe it is helpful to get second opinions about what to enter?
Definitely, but ultimately you’ve got to trust yourself.
Brendan Ó Sé
So let’s say I go to someone for confirmation about my photo selection. Who would you recommend I seek out?
I have a couple of people who I would trust. My wife is probably the best judge. A simple nod or shake of the head does it for me with her. I would say to reach out to a photographer friend who will be honest with you, but ultimately go with your guts and enter what you feel are your best shots.
Brendan Ó Sé
Brendan, you’ve been extremely helpful. To finish up, if there is one most important tip you could give someone entering a smartphone photography contest, what would it be?
Prepare for disappointment. You probably are not going to win. I know that sounds harsh, but it is the truth.
But here’s the thing. If you enter a competition, you want to win. You want all others to come after you. There is no other motivation. When you don’t win, you can feel despondent. You examine your work. You hold it up to that of the winners. You cast an overly-critical eye on it and wonder where the hell you are going in your photographic journey. But, this feeling passes. And it passes because the endeavour, the hobby, the passion you have for it cannot be diminished by the choices of a judge or judges. No, the passion, the desire to show what you see and to show how you see it surfaces and you get out and you shoot again. And you enjoy it. You get back to looking at others’ photos and they inspire you and the whole things kicks off again. You want to learn. You want to sharpen and sensitise that eye to see better. And you begin to dream that next time will be your time. You’ll win.
I guess what I am saying is competitions are great if you do well, but they sure do suck if you don’t. Photography should not be a competitive pursuit.
My advice to anyone entering a competition, be it photography or not, is to always get back to why you do it. You will find that the answer is because it’s fun. If it’s not, then give up. Find another hobby.
Brendan, I want to thank you for giving us all a better idea of how we can remain passionate about our smartphone photography and remain focused on what is important at the same time. I know I’ve certainly learned so much from you in this interview and I’m sure many others have as well.
Learn more about Brendan through his website and following his social media on Instagram, Twitter and Facebook.
Tommy Wallace is a smartphone photographer based in central Arkansas with life experiences branching as far as the Pacific Island of Guam. Locally he photographs the people and places of Arkansas and participates in photo competitions close to home as well as internationally. Follow his insights on smartphone photography through his SmartPhotos Blog where this interview first appeared.
My love for photography turned to rust, quite literally, on April 6, 2014.
I remember the moment well. It was mid-morning on a frosty Sunday and I was standing on a muddy driveway that led toward McLean’s Auto Wreckers in Rockwood, Ontario, about an hour northwest of Toronto. McLean’s has become somewhat of a Mecca for photographers who can’t get enough of that perfect blend of light and rust.
This was my first intentional photo shoot – an initial attempt to create a series of images based on a singular subject. It was also the first time I had ventured out with a group of fellow photographers I didn’t even know.
Given it was April, the hectares of automotive carcasses I was about to immerse myself in were still knee-deep in snow. The challenges didn’t stop there. It was also a brilliant sunny day that made for tough light conditions for even the most experienced shooter.
The group started walking through the fields and I couldn’t wait to see what I would find.
I didn’t have to walk far to discover this adorable robotic creature keeping watch over an old construction tractor. I thought I heard it say, “Go ahead, I dare ya, take your best shot!”
I couldn’t resist. All of its majestic pipes, rubber tubes, lights and peeling paint made me rise to the challenge. I was rewarded with a comical, quizzical look through its myopic eye. Beauty can be strange, and the strange can be beautiful.
I couldn’t walk ten feet without finding another tempting scene. This lengthy old trailer, when framed in this manner, reminded me of a giant caterpillar slinking its way through the frozen fields. Its iridescent yellows and oranges seemed to go on forever in harmony with its prevalent brown rust.
The magic of McLean’s was beginning to reveal itself. And I, the naïve, awestruck participant, couldn’t wait to discover what other painterly pleasures lay in wait.
And then…a fire truck. Every man-child’s dream!
All shiny chrome and faded red with its control levers and hose attachments intact. I must have shot nearly every angle I could of this beauty. Rusty and worn, but sitting there extremely proud of its glory days of fighting fires and saving lives. It knew it was the real hero of the junkyard and I knew I had to preserve, through my lens, its heroic gifts.
I trekked for a while through a small grove of cedar trees. When I emerged out the other side, I came upon a field full of VW carcasses. I found a gutted Beetle that, immediately upon seeing it, took me back to when I was 16 years old and learning to drive in my mother’s 1963 VW Beetle. I recalled with fondness the graphic on the slide-out ashtray that helped me immensely as a new driver because it showed you the correct placement of the stick shift for each of the forward gears and reverse.
Junkyards, like photographs, are full of magnificent memories. Seeing, smelling and touching this “old folks’ wagon” took me right back to driving up north on the highway on a warm summer’s day, listening, for the very first time, to Pink Floyd’s Dark Side of the Moon in its entirety on the 8-track player I had installed in our Beetle. And then I shivered as I remembered scraping the layer of wintery frost from the inside of the windshield that would build up while driving home after a day of downhill skiing!
The irony for me in finding this Beetle lay in the fact that the year stamped on the Ontario license plate was 1973, the same year I was 16 years old and experiencing all these distant memories. Coincidence? Perhaps. I like to believe it was fate.
Mother Nature shows herself as a powerful creative force when she sets her mind to working on man-made objects of steel coated in layers of paint. She’s a true artist. Her medium is rust. Her palette is the rainbow.
It may take her years to complete, but if you’re lucky enough to catch a glimpse of her work along the way, it can have a profound effect on your soul.
Which brings me to my favourite shot of that day in the junkyard. The back left taillight of this utility trailer, surrounded by an irresistible exhibition of colour and corrosion. I like to believe that I came upon this particular work by Mother Nature at its peak; the peeling yellow and blue paint, the streaking orange stains, the all-knowing, all-seeing red lens framed by rusty pockmarked steel. Painterly perfection! Incidentally, this image was the very first photography that I sold in a gallery. It may have had my name on it, but Mother Nature gets all the credit.
A look into the Latino LGBT nightlife of Queens, New York City
Queens is often called the “World’s Borough.” It truly is one of the most culturally diverse urban areas of the world, and Jackson Heights may very well be its heart.
Step off the Roosevelt Avenue subway stop and you will immediately be greeted by taco stalls, ethnic grocery stores, a smattering of Tibetan/Himalayan/Asian food joints, and a whole host of Latino eateries catering to a diverse mix of people from all across South America. This stretch of Roosevelt Avenue is also home to a thriving and vibrant Latino LGBT community.
The recent political climate in the U.S. and events like the one in Orlando have shoved some of the issues of the LGBT community into our national conversation. This is especially true for the transgender community – bathroom laws, acceptance in military, gender identity – you name it…every aspect of their identity has been politicized. A recent Huffington Post article highlights over 100 Anti LGBT bills pending at the state level.
Photo by Sandy Gennrich
Photo by Shamik Ganguly
All this media attention has also had some positive effect. More people are talking about LGBT issues today than perhaps ever before. Shows like Amazon’s excellent Transparent would have been unthinkable a few years ago. It has also made folks like me, who has had very little to no interaction with the transgender community, more curious about learning about their struggles. A recent, most excellent, heart-wrenching and powerful episode of HBO’s Vice “Trans Youth,” really opened my eyes to the issue of Transgender rights and their struggles. I strongly urge anyone interested to watch this episode where Vice correspondent Gianna Toboni provides an intimate look into their lives.
Photo by Shamik Ganguly
Colombian photographer Joana Toro has been documenting the vibrant Latino queer community in New York for years, and over time she has cultivated personal friendships with many of its members. So, when she offered to take a few of us to experience the nightlife, I jumped on it.
Being straight and having never been to a gay bar, let alone a gay nightclub, I wasn’t sure what to expect. Frankly, I was a little nervous about the whole thing. The evening started with three of us having a late but sumptuous dinner of steamed Momos and Thenthuk at a Tibetan restaurant before meeting up with Joana. After dinner, Sandy, Susan and I met up with Joana who took us on a mini walk of Roosevelt Avenue. It was getting close to midnight on a Sunday night and the vibe and energy on this stretch of Roosevelt Avenue was just starting to pick up. Music streamed out of the many bars and clubs that dot this diverse neighborhood. People lined up for late-night tacos. The occasional drunk stumbled by. The corner grocery store was still serving customers even though it was past midnight. We passed a pair of dressed-up Trans women ready to start the night’s festivities, while the girl on the corner was still working the streets.
Photo by Shamik Ganguly
To get into the spirit of the evening, we stopped at a bar for a drink and listened to a Colombian jazz band play some amazing music. We were told by Joana that we had a surprise coming. The club we were about to visit had a Miss Colombia Beauty Contest planned for the night and we were in for a treat. As we headed into the nightclub, I realized how underdressed I was – jeans, sneakers and a casual shirt with a big camera hanging around my neck.
Photo by Sandy Gennrich
Inside, it was a different world. The Latin dance music was blistering loud. Strobes flashed and the smoke machine created shadows that danced on their own. Bare chested bartenders served Corona Extra in buckets with their hair gelled to almost ‘Chihuly Glass’ perfection. Everyone had their sexy on. As the clock pushed closer to 1 am, the scene picked up with a few people taking to the dance floor, some couples more intimate than others. Some of the clientele gave us curious, amused looks. I realized all three of us were a minority here.
Photo by Sandy Gennrich
A little past one in the morning, I suddenly noticed heads turning towards the entrance of the club. The queens had started to make their way into the club. It was a sight like none I had experienced before. Surreal.
Photo by Sandy Gennrich
The parade of beauty contestants filed in and took their time with the finishing touches. Lipstick applied to the light of a mobile phone while others crowded (or hogged) the bathrooms. I never thought that the party would just be starting up if I showed up at 1 o’clock in the morning, on a Sunday night.
Photo by Sandy Gennrich
The contest kicked off with all the contestants coming forward, gleaming from head to toe in sparkling, skin-tight gowns, decked in stiletto heels, and with make-up and hair (or wigs) so remarkable for their perfection. Each contestant wore a sash with the name of a city in Colombia. This Miss Colombia Beauty Contest is like no other beauty contest in the world. The winner isn’t picked based on popular vote, or on some criteria of beauty. No, this contest’s winner is decided differently. The emcee for the night introduced the contest and started the elimination round quickly by drawing a ping pong ball out of a bag bearing the name of a city in Colombia that matched a name on a sash. The poor soul who’s city/sash was drawn came forward, the emcee said words about the contestant in Spanish and whipped the ping pong ball across the floor with a flourish. Contestant eliminated.
Photo by Sandy Gennrich
A few ping pong ball eliminations later, there was a break for a solo singing performance by a Diva. The lights went down and the spotlight honed in on her. She was pitch perfect, belting out what I can only assume were ballads of heartbreak in Spanish. The power of her performance and the raw emotion she wore on her face gave me goosebumps. She might as well be a Broadway star. The crowd was awestruck and started showering her with money. Soon, the floor was strewn with dollar bills all around. And all along her voice soared (don’t tell anyone that she was lip syncing).
Photo by Shamik Ganguly
At this moment, I realized how much members of this community support each other. And I realized that they have to. They don’t have a choice. Everyone rooted for every contestant. There was genuine love and support. I told one of the contestants that she looked beautiful. Her eyes lit up as she thanked me profusely and gave me a hug and posed for pictures. Looking at the faces of the contestants and the divas made me wonder, what kind of life are they hiding behind that perfect makeup? What kind of struggles do they go through every day?
Photo by Shamik Ganguly
Outside these walls, they may be a fringe minority – judged and misunderstood. A pawn in some politicians’ gender identity games. A subject of bathroom politics. But inside these walls, it is their Happy Place. Safe Place. They can be their own. Live their fantasies. Support each other. Love each other.
In here love trumps hate.
Photo by Shamik Ganguly
It was late – almost 3 am. Decision time was near. Stay for round two of the beauty contest, or head home for a few hours of sleep before the reality of showing up for work was near. The party supposedly goes on till 5-6 am, even on a Sunday night. Energized, excited and smiling we headed home, buzzing about this new world that Joana introduced to us. Hello hangover.
Story by Shamik Ganguly in collaboration with Sandy Gennrich.
A version on this post first appeared in The Light Diaries.
Since childhood I have considered myself an observer of everything that surrounds me and excites me. Photography has given me the ability to return to those important moments through images, and I’ve always found this fascinating. I’m more aware of it now, this possibility to go back and remember. I still recall with emotion when my grandparents gave me their Kodak INSTAMATIC X-15 for taking pictures. From that moment on I was held captive by anything that would appear in the viewfinder. Nowadays, I feel it’s essential to take photos daily, as it’s a visual and very personal record of everyday life.
This has evolved, in such a way that the traditional consumer of images has now become a “prosumer”, generating and offering their perspective on social networks. As a reference, let’s consider the scope of mobile photography, which has become a powerful tool for telling stories. Personally, it has allowed me to meet interesting characters on the streets and made it easier for me to approach the issues relevant to my environment.
In my pictures I try to capture the contrasts of light and the details of the characters, silhouettes and objects. I think that the best light to do this in is daylight; I only need to go for a walk with a pair of comfortable shoes and my cell phone fully charged. On the streets, a certain look can be intriguing. You can stop, get closer to your subject, or respect their anonymity and take a picture without them noticing and just thank them afterwards. The streets are pure emotion, that is where the stories are.
Personally, I’ve never liked to capture misery or the degrading condition of the human being; this has never caught my attention. On the other hand, shadows, contrasts and the characters that emerge from them, spontaneous symmetry and natural gestures, these are more interesting to me for generating my visual discourse.
Chihuahua city is located in the north of Mexico and, being close to the border, we have an interesting cultural mix. This has caught my attention and led me to title one of my projects: Puro Norte. In it I present urban portraits of individuals with expressions and in activities denoting the identity, clothing, instruments and poses of the urban cowboy, in costumes from a western film.
Go out, walk and be alert, but don’t stop enjoying the ride and the experience. This is where objects and people have something to say, have made their own history and are waiting to be seen. It’s all about going out to look for them in order to find them.
I prefer to document my own environment without expectations and tell the tales of what I see in my own way, though pictures. I don’t ask for poses and often I don’t ask for permission, but I watch and wait for the moment instead. Photography has given me the opportunity to meet some unique characters; it’s just a matter of approaching people with respect and making my intention clear when necessary, as in the case of a portrait.
I am constantly on the hunt, defining my style and reinventing it. This is evolving more and more, allowing me to expand to other networks and find various platforms for experimenting with an image. This is part of the process and the evolution of photography. It changes on a daily basis and requires you to be a curious person.
In my photographs I try to present my vision – what I have to tell – by using certain angles and editing processes. For some time, a quote has accompanied me and it’s by one of my favourite photographers of all time, Lola Álvarez Bravo: “I seek the essence of beings and things, their spirit, their reality. Interest, personal experience, ethical and aesthetic commitment form the photographer’s third eye”. I hope to some day find this, I am still looking for it, but so far I think I’m getting closer.
About the author: Ramón Cruz is a college professor and photographer based in Chihuahua, México. Documentary, portraiture and street photography are his areas of focus. He is currently a member of 1415 Mobile Photographers.
You can see more of his work here:
14&15 Mobile Photographers
We’re rushing through streets nearly every day, trying to get from A to B in the fastest way possible. This is especially the case when you’re living in bigger cities like Berlin, for example. Hectic is our constant companion on our day-to-day tours, causing stress, exhaustion and sometimes even anxiety, with no remorse. As we’re speeding through urban canyons, desperately trying to avoid any unwanted physical contact with one another, we become increasingly detached from our surroundings, and sometimes even from ourselves. We feel the need to hurry – possibly being late for work or for an appointment is indeed one of many reasons to do so – even though most of the time we don’t really need to; we just want to get it over and done with.
When I was a young boy, around 10 or so, my father always suggested we walk slowly in places we visited during our family holidays, reasoning that if I walked in a more moderate speed I would be able to soak up the beauty of the things around me, and thus have a truly enriching experience no matter where we were. Of course, as a 10-year-old boy, I couldn’t even imagine what he was talking about let alone comprehend his teachings, so I rejected his advice and kept on rushing. I continued this behavior until a while ago, but my childish reasons from back then – excitingly wanting to see as many things as possible in the least amount of time – weren’t really applicable anymore. Instead of curiously soaking up the world around me, I was more and more concerned about being where I wanted to be, as fast as I could, without any distractions whatsoever. In a way, I had shut myself off from the world surrounding me.
Up until one very particular day in my life, I was a dedicated jaywalker, always careful and attentive, and quick to respond to speeding obstacles. That was until I was forced to wait at a seemingly random and dreadfully busy intersection, which I had to cross. Acting out of a strange mixture of boredom and stress, I decided to take a deep breath and feel a bit more comfortable with the situation I was in. Turning my head left and right, I started noticing many different things, the details of my surroundings. For a few seconds I opened up, if you will, guiding my attention towards a beautiful dress worn by a kind-looking elderly woman across the street; the color arrangements of a middle-aged man standing in front of a corner shop (lilac, he was wearing clothes in different shades of lilac, even his tablet was covered in lilac too); the interesting height differences between a man and two Great Danes he’d taken out for a walk; the scent of beer and pizza, and coffee and cigarettes, coming from various sides…transforming this usually uncomfortable moment of forced waiting into something unique and special.
Upon crossing the street and continuing my course – the green light indicated its allowance to do so – a subtle smile appeared on my face: had I just shared an intimate moment of patience with complete strangers at an intersection?
On my way forth towards my destination I felt unusually light and present, noticing all kinds of patterns, shapes, and colors. Rays of light bounced off various surfaces, creating plenty of shadows and generating an overabundance of beautiful light situations in return. All this within only a couple of hundred meters. I suddenly remembered how my father used to tell me to slow down and pay attention to my surroundings. I also remembered that after years of trying, he eventually gave up. Who would have thought that about twenty years later, his teachings would not only come to fruition but also unintentionally lay the groundwork for both a great photographic practice and an exciting way to widen general perception and strengthen the skill of patience?
Historically, the Sunday stroll was always vital to the well-being of the majority of people: the obligatory walk to church on the only labour-free day of the week, used for recreation, quality time with the family, meeting friends and listening to the Word of God – a truly social experience, if you will. Even artists, writers and, later, photographers have devoted their craft to telling the art of strolling – Henri Cartier-Bresson is a perfect example of that. Nowadays, however, it is quite uncommon to just slowly stroll around, observe and pay attention to life happening around you, especially in places usually not frequented by travelers or tourists.
People witnessing me appear to be puzzled by both my slow walking speed and my intense and curious way of looking. Although I agree with Franz Hessel’s claim that you, the flaneur, do look somewhat suspicious, I would rather say interesting. Adding the fact that most of the time I don’t carry a camera with me and am solely photographing with my smartphone, mostly in unusual places, seems to be sufficient enough to be approached by a few irritated, yet interested people, striking up a conversation in an attempt to find out my intentions. A classic, neck dangling camera, however, appears to be the only visible indicator of intent, allowing the general public to decide whether to dismiss or welcome you upon first sight without the need to interact with you.
Usually, those conversations end in smiles, sometimes spontaneous coffee dates, and on rare occasions even turn into long-term contacts. Anxious at first about being approached by strangers – somehow I always felt the need to explain myself – I quickly adapted and became more confident with time. I now see the good in irritating people – it just means that there is something new happening and they don’t know how to properly react to it, which mostly leads to a conversation, and that is always a good thing.
Today, I see the slow stroll not only as a great photographic practice – as it allows you to habituate a certain way of seeing and perceiving things – but also as a way of easing your mind. Having to stop at a red light is no longer only an aspect of obedience, but a welcomed invitation to just pause for a moment and let your eyes and thoughts wander around. If you remove the debatable necessity of speed and are willing to open yourself up emotionally, you will start catching up the vibes around you, thus training your sensitivity towards your surroundings and your empathy towards others, eventually finding yourself calmer, more content, and confident during unforeseen circumstances.
When I told my father about my past experiences, he warmly replied: “You see, that’s exactly what I was trying to teach you all those years ago. Sometimes it’s not bad at all to just listen and take someone’s advice, is it?”
All Images © Alexandre Kurek, 2017 / shot & edited on iPhone using VSCO
After a lengthy vacation, our popular, Storytellers Circle has been revived in GRRYO’s Instagram account. We feature a photo prompt each Monday and ask our audience to share their stories to accompany the image. We would love for you to join us and share what each photo says to you. In September we focused on wonderful photos by talented artists with stories that our followers contributed. So come and browse through this digest and let the stories move you to join us each Monday in October!
“Look”, Agnes. “That man is buck naked!” “I’ve seen better”, she sniffed, “much better”.
On days when the air hit a certain percentage of humidity she couldn’t erase the image of the scar upon his back. The starched shirts, the fine suits, the fancy accessories were not enough … he would joke with the kids about the march and the days without food, make it seem like a cartoon- tom and jerry, wile e. coyote … all double takes and hi-jinx. But she knew the truth, had felt the raised skin underneath her fingertips for years. She had felt the tightness of his jaw, the grinding of his teeth and the quiet sound of his despair. She hated these days, when the sun was like a knife.
Ok, yes, I know, I’m old. I don’t look it, call me Dorian Gray. But I am old. 70 is old! And tired. Tired. I miss Lois, may she rest In peace. And Jimmy, God bless that little rascal. My knees hurt, I can’t fly more than five feet off the ground. Super? No more. But I’ll keep showing up, the world needs me. The world needs a Superman.
“Hmmm . . . the newest in spring fashions for the grand reopening of Atkins Department Store and the lineup of boring afternoon soaps on the local TV stations,” thought Roger as he squinted at the tossed aside newsprint. He’d been hanging out at the warehouse for 3 days now looking for any scrap of a clue that might help him to wise up to the mystery of Lucid’s disappearance. He would stay as long as it took if he had to. He loved that girl and there was no way he would give in to the heat, sweat, and misery of searching until he found her. And found her alive. She had to be alive.
Join us each Monday to share your stories with photo prompts in Storytellers Circle. If your story is selected it will appear on our website like those above.
adoring reverence or regard
Deference. If asked, “What is your house of worship? Where do you find comfort and solace?”, my answer would be, “The forest.” I have always felt sheltered and present in the woods. Dysphoria melts into mindfulness. I am happily lost in the presence of such grandeur.
Perennial Questions. The strength of root and branch, the ability to bow and give to nature’s force, what is this balance? How does the constant weight of snow, the perpetual force of the wind shape trunk and limb? You are over a century old, will you live another?
the fundamental or essential part
Foundation. Root over rock, here my seed alighted and here I must stay. Granite and flora, a stark contrast between the inert and the living – an inspiration to adapt, remain steadfast, to prosper. I am awed by the energy it takes to root oneself.
an interacting population of various kinds of individuals in a common location
Collective Ownership. Below the forest canopy, below the forest understory is a vast network of fungal connections known as the mycorrhizal network. These filaments of fungi, growing in amongst the roots, are the interlacing connections that bond each individual tree into an integrated system – transferring information and nutrients back and forth. Point in fact, a dying tree will share its stored supply of food with neighbors. Perhaps a last act of altruism to support the forest community.
a way or track laid down for walking or made by continual treading
Succession. There is something special about winding through a wooded area following the footsteps of strangers. The path becomes a metaphor for a journey, a culmination of all who have passed.
mystic; of or relating to supernatural agencies, affairs, occurrences, etc.
Metamorphosis. The magic of the woods is ever present – forms fading and thrusting forward, some geometric, some anthropomorphic. How can imaginary beings not exist?
I remember as a child, walking home at dusk. As the light faded and the katydids’ and peepers’ rhythmic drone filled my ears, the scrub pines of Cape Cod would transform into gnarled and wicked shapes. I would try to look straight ahead and tell myself not to run, for evil smells fear. Once I was through the woods, I would bolt for safety and the glowing lights of home.
lasting a very short time; short-lived; transitory
Fleeting Moments. Left with a nagging sense of responsibility to record the moment, transience has always unnerved me. If not captured, the moment may never have existed. The forest has taught me to slow down and observe. I have learned that the celebration of ephemera is an everlasting practice. And, if you happen to record the moment, that is simply a bonus.
marked by clarity or translucence
Light. In the woods, I feel transparent.
Not invisible, but in a sense porous,
as if the light could pass through my skin and bones.
Forest shadows reaching toward me,
I half expect, when I turn around,
to see a continuation of their shapes
and not mine.
something composed of parts fitted together and united
Acknowledgment. How noble these trees,
how they display the vista, pulling its
likeness between them into balance.
I return to this spot season after season,
hoping these trees will outlive me,
hoping this frame is never altered.
the act of dying; the end of life; the total and permanent cessation of all the vital functions of an organism
Mortal Wish. When I die, I wish a thousand living things will sprout from my corpse.
Holy Week (Semana Santa) is definitely the biggest, most prominent celebration in Spain. It is also the most important period of the year, immersed in a wide array of emotions. Spanish people always find time to experience unusual processions – re-enactments of the Passion. Let’s go for a walk down the narrow streets of Ibiza’s old town, and admire this unique spectacle.
Before we begin, we cannot forget that people in Spain love eating, drinking and enjoying the company of their loved ones. Apart from celebrating the religious holiday, which is obviously of great importance to them, they value spending their free time with members of their families and with friends.
It is worth it to see the processions – they take place throughout the whole of Holy Week and they tend to be quite elaborate. You may also encounter their alternative name – “penance processions”. They involve members of the brotherhood (nazarenos) parading from their church to the city’s cathedral.
It is easy to spot the start of the procession – just search for a giant cross. It is always carried at the front.
What makes Spanish processions so unusual and so different from those in other places of the world? People who participate in them are dressed in a specific outfit known as capirote – a traditional, tall hat covering the face. Conical hats were traditionally worn by those doing penance. They were a sign of atonement and remorse for your sins. In this way, sinners would not be recognized and could repent anonymously. They also wear belted robes.
Another highly important factor of this event is music. Most of Semana Santa processions are accompanied by live marching bands that play religious, pompous pieces.
The ambiance of these festivities is one of a kind. Although the atmosphere is definitely solemn and spectacular, nothing can hide the Spanish desire to live in the moment. Strong religious beliefs are blended with celebration, and that’s how the unique mix is created. Don’t miss an opportunity to see the Semana Santa procession, and take from it what is most valuable to you.
Text written in collaboration with Monika Malucha
Magda de Jonge Malucha, aka Magda DJM, is a Polish mathematician, self-taught photographer, Picker and mom of a teenage otaku-boy, based in Ibiza, Spain since 1998. Her adventure with mobile photography started in 2013. She is a member of the Polish Mobile Collective Grupa Mobilni. Her work has not only been exhibited in Spain, Italy, USA, Germany, France and Poland, but also recognized in some competitions, like the Mobile Photography Awards and iPhone Photography Awards.
Martha is the second author to be published on Grryo following the announcement of our partnership with Picwant.
You can see Magda’s work on: VSCO | Instagram | Twitter
One two three four
Six seven eight.
Balance, lean, follow,
Corazón y alma,
Relax, and keep the tension.
Open the door,
Walk, walk, walk,
It’s all coming back;
Two three four;
In a new way;
A new way;
Listen to the rhythm,
Sense the beauty,
Feel the strength,
Heart and soul,
Cross six seven.
My world has changed:
It is a total secret,
That no one should know of.
It is awful private,
But far to heavy
To carry alone.
So I might just dream it,
And leave you the pictures
Frame by frame?
But then again:
I don’t want to re-
experience it all.
Two three four.
I still have to balance;
I still want to dance;
I still feel the tango.
Six seven eight.
I’ll bring the dark times to light;
I won’t fear them,
Although they know me,
And how to catch me,
And how to blind me.
I dare to touch them;
I dare to stay,
And reach for light.
I take off my shoes,
Walk past the curtains
(Like in a vision),
Open the window,
And breathe deeply.
I can feel a beginning,
It’s coming closer;
Almost like peace,
A vow transformed:
vision to matter.
Flexible body, flexible mind,
It derives from the soul,
Practice and effort,
Two three four.
I open my heart;
I drink the light;
I know it’s time
To leave soon.
Five six seven eight.
I move to the silence;
I count the beats;
It’s all in my soul;
It knows the direction;
It owns the music.
I sense the beginning,
It’s lifting me up
On wings of intention.
Six seven eight.
I watch the dawn behind the trees;
It’s glowing like trust.
The sky is burning
With light and answers
It’s time to leave.
The night is over
And time readjusted.
Two three four
From an uncertain point
I touched the shadows,
Felt them in my eyes,
Felt them in my body,
Their density and cold
As I reached for the light.
Through a shimmering corner
Of my awareness
The light flows
Through chaos and joy,
Bones and soul,
Mind and muscles,
Heart and will,
And much more.
Six seven eight.
It flows through
From All that is.
I am a visual artist working with photography, based in Copenhagen DK and Norwich UK.
I was a dedicated dancer of Argentine tango for 13 years, when I was diagnosed with cancer.
In September 2016, I went through some tests at the hospital, just to make sure nothing was wrong. But, something was wrong.
Late one Monday afternoon, a surgeon called me. She explained that I was diagnosed with cancer located in my lower abdomen and that I was scheduled for surgery Wednesday morning 7.30. She gave me one day to get used to the thought. The operation would be performed by two surgeons, and it would take six hours. It was going to be a large operation. She advised me not to postpone the operation.
I was shocked.
I thought I would die.
Or at least be transformed.
I spent Tuesday trying to get used to the thought of leaving this planet.
The good thing was, when I thought of the people I loved – and still love – I had already told them they were in my heart. That was the most important thing for me.
Maybe it was the surprise of surviving the surgery that gave me tremendous energy and will power? Maybe it was just a miracle? Anyway, I tried to get out of bed the day after the surgery. I succeeded and felt that the healing process was in progress, and insisted on going home.
I soon discovered that my life had changed, and my perspectives too.
Not all of the changes were pleasant: four months after the surgery, I started to dance tango again. It was wonderful and easy and a total joy, with all the renewed energy. BUT, after one hour of dancing, my legs and lower abdomen looked like something that legally belonged to an elephant. They were swollen because of damages on my lymph system. It was terrible. I couldn’t stand the look of myself.
Even though tango is about heart and soul, it’s also an art form that is very much expressed through beauty, grace and elegance. I felt that these important aspects were out of reach.
I don’t want to bore you with long explanations about all the kind of therapeutic stuff I did every day (and still do) to dance again, and to prevent the lymphedema from becoming chronic (and the cancer from coming back); just tell you that I made this series for two reasons:
- To express important matters through art. By transforming something private into something generally human, it hopefully becomes meaningful to other people – and it might even make them feel uplifted?
- To convince myself that I don’t look like an elephant. Anymore.
To see more pictures by Titika Røtkjær, go to Instagram.
This story begins with two photographers: the first one, Christian, a Frenchman living in Arcachon, a little town on the Ocean, 70 km away from Bordeaux. The second one, Valeria, an Italian living in Milan.
They have met by chance in the virtual land of an app called Instagram in 2013, and for the last four years they have been sharing their thoughts about photography through two other apps called Viber and Kik. They have never met in the real world until now, though they have been planning to do that sooner or later. As they share not only a love for photography but also the fact they don’t like talking about their personal work, they have decided to write about one another. This is the first of two articles reassuming a relationship based on reciprocal admiration and a long conversation about the need for photography.
(Within dance the expression pas de deux refers to the number of dancers, men and/or women, performing together a sequence of a ballet or choreography.)
I was a very “young” Instagramer with no awareness of my own work when I first came across Christian Mondot’s photography in 2013. I was making my first steps in the jungle of Instagram when I found his striking bw account (@cclm31) and I was caught off guard by all those images speaking so honestly of their author’s emotional side. It was more or less like when a child perceives the difference between himself and an adult, feeling the shape of authority. Compared to mine, his gallery had no contradictions or random images, but showed a definite strong identity. The most impressive trait to me was that all the images seemed related to one another, like words of a speech, and they were meaningful and soulful despite the absence of a garish subject.
I was in awe of his skillfulness in focusing on humble details, like an old washtub, a newspaper in an abandoned classroom, a closed door.
His extraordinary way of shooting the ordinary showed a contemplative eye to the world and spoke a language full of intimacy to my heart.
I realized in my naive approach to his photography how intensity doesn’t need spectacularity or drama, but rather a moved eye, and how the importance of a subject comes from the story the photographer sees or imagines behind it. Everything can become important when beautifully focused and framed, but it’s not just a matter of technical skill. The impact was strong but it took me a long period of time and more personal consciousness about photography to unfold the mystery and to understand the message hidden behind that work.
Preferred subjects to talk of his inner world are people and nature. Many of Christian Mondot’s photographs don’t feature visible people but rather their absence: melancholic shots like those of abandoned places full of traces left by their passage, empty restaurants frozen in the wait of customers, interiors of churches in the half light without believers.
Sometimes we get the human presence from a sign, like the light coming from a window, or a dog waiting for its master. Through this feel of missing people, Chris seems to talk of a lost Golden Era, full of warm relationships and expectations, like youth is.
These images without people and missing people are gloomy, and fascinate the observer with their ominous power: the unpleasant loss of the Golden Era is unavoidable. In more recent images, the presence of people seems rather to emphasize the serene acceptance of the loneliness of the human condition. Chris shows himself like a lone wolf, bashful and contemplative, loving his rich and multifaceted microcosm.
Nature is his best friend. Chris said to me he often gets lost in the beauty of landscapes, standing alone and totally overcome by the feel of immensity, absorbing the space around him in an impossible desire of symbiosis and waiting until he understands how to take “that” shot. Nature looks like Mother: peaceful, embracing and supportive. This side of Chris’s work suggests a powerful identity with mystical traits.
He is a professional musician, and music never leaves him alone as it is always in his head like a soundtrack. That’s why looking at his photos featuring awesome countrysides or marvelous sea landscapes, I have often sensed a sound, like a whisper, growing until it becomes the din of an orchestra tuning its instruments.
Chris uses a poetic black and white language to tell an endless series of little stories. He has a very personal use of black and white: his black is deep and enveloping, often taking most of the image, sometimes soft like velvet, others very intense and dramatic. Inside it, smooth like a caress or sharp like a blade, the light insinuates itself, showing beauty. He uses his whites coming out of all those blacks like a curtain raised to reveal the truth. It’s a mystical light and I have often felt in awe of his way of engrossing the observer: ravished and sucked inside the frame, we are called to take part.
Christian Mondot’s photography fulfils its author’s wish to engross the observer in his own emotions. These are artistic photographs, evoking much more than they show, involving more than what they feature.
There’s no way to escape a personal participation in these charming stories, so be ready and enjoy them.
You can find Chris on: Instagram | Website
When taking photos, there are times we feel the images we captured aren’t good or maybe we lost our touch. Thus, we spend time looking for inspiration and motivation in photography by looking at people’s feeds on Instagram or other photography platforms. It isn’t because we failed; rather, our willingness to learn and keep growing gives us the thirst to be better. Seeing others’ feeds brings a new feeling and often a new perspective to moments.
Suddenly Sherbet by Jay McCullough
It is hard with the advancements and, of course, competition in photography these days. But we must not forget why we started taking photos in the first place. Yes, getting commercial has become important to some. Yet, for many of us who started photography as a passion, we shouldn’t lose our way. Through my journey in photography, I feel if we forget that first moment we started capturing and don’t continuously relive that feeling, then, however professional we get, at one point the taste and enjoyment of it will fade. Many photographers in the past kept clicking and stayed humble to their passion, which is why we always feel inspired through their work. Compromises may have been made, yet their brilliance remained true.
Light by Victoria
Coming across the feeds of Aki Sato (_akisato_), Victoria (vi.or) and Jay Mccullough (jmcullough) was one of those moments for me. Their feeds and photos bring a fresh feeling. The first time I saw their images, I was amazed at their captures, clarity and perspective. Each of them have different styles, unique in their own way. The idea and motive to keep it original has lost its way for many, but when seeing their feeds, I was convinced that there are some who want to stay original and be themselves.
Here are a few words Aki and Jay share about how it all started for them :
I live in Tokyo, Japan, and I’m an instagrammer taking photos with the iPhone 6s.
Photography has always meant something to me. But I’ve got a different point of view of my city and my photos after a Copenhagen trip in 2015.
Before I went to Copenhagen and Stockholm, I had no impression about my city because I’d been so busy at work. Tokyo was just a place to work for me. As you know, Tokyo is one of the busiest cities in the world. I had no time even to look up to the sky. In Copenhagen and Stockholm, I met lots of happy people. They were proud of their city and enjoyed their life even though they worked so hard like us. I really loved them. After the trip, the scenery of Tokyo was totally different from before. Everything looked very fresh, even if it was a flower on the street. The trip opened my eyes and it was so inspiring.
Also, I really love a simple interior and monotone fashion, even in my everyday life. ~ Aki Sato
I’ve loved photography since I held my first camera in grade school. This interest carried through high school and college, influenced by everything from Ansel Adams to Rolling Stone magazine. I’ve enjoyed photography throughout my adult life, but it became a regular and serious hobby for me a couple of years ago around the time I started using IG. Since then, my love and interest for photography has grown exponentially. From minimalism to mood to light to magical moments with my children… I could not be more in love with capturing beauty and artistic expression through photography. ~ Jay McCullough
Victoria’s words can be seen here.
Simple and minimalist are not easy to approach in photography. Some people have a sense for it and are able to capture the essence. Aki, Victoria and Jay have done a fine job in showing how simple things can stand out stunningly. Their photos speak of various moments. Every photo is telling you a new story. Aki’s photos form an intertwining story of their own and make you see Tokyo from a new angle. Victoria captures minimalism in street photography through her creative eye. Jay magically captures various moments in daily life filled with colours.
Let’s create the story through their photos below :
Architecture by Aki Sato
She stood there on the stairs, whilst time stood still. She wondered and waited in silence for that one moment when her friend would say, “Hey, I am done, let’s go.” Once she saw the picture she was in awe of how beautifully her friend framed her in this simplistic setting.
Midsummer Night Dream by Jay McCullough
He walked through the fields during sunset. The impressive lines from the power lines striking through the skies formed a lovely, simplistic structure. Intrigued by the colours of midsummer, a thought crossed his mind. “Should I enjoy this moment and let it pass or should I take my camera and hit the shutter?”
Paint the Silence by Jay McCullough
Melodiously, the voice of the trumpet resonates around the house, creating a classic and soothing rhythm. Everyone starts to enjoy the peaceful atmosphere whilst continuing their household chores. Jay, feeling inspired, pictures a colourful moment in his mind and instantly clicks.
*On the street
Street by Aki Sato
He walks whilst looking at his mobile after work. Checking his messages and missed calls on a quiet empty street. Oblivious and in his own world, from a distance, a photographer, triggered by the patterns on the floor, instantly captured this moment and, voila, he is frozen in it.
Green by Victoria
Her prominent red hair stood out against the teal background. As she passed by through the light and shadows, thinking of her next appointment, the photographer felt it was the perfect moment to capture. After playing with some angles, she finally clicked.
Red by Victoria
Lost in trance, the music flowed through him, bringing him to a new place and atmosphere. He felt carefree and refreshed embracing the moment. Victoria, forming the shot in her mind with the stark red background and the man rapt in his world, hit the shutter.
Stairs by Aki Sato
Standing at the center of the stage looking at the audience applauding his marvelous production, humbles him. He is proud of his first-ever successful moment. He thinks, “Wow, one day, it shall come true.” Looking up at the stairs spiraling through eternity inspires her to create a moment that stands still in times to come.
Stairs by Aki Sato
Running through the stairs of eternity, she looks through the crisp blue skies joyfully and blissfully. From behind, she hears a murmur, “Hmm, the steps look great. I wish she would climb faster so I can frame the shot and capture it.”
Stairs by Aki Sato
Wandering back into her past, and exploring her present, she sits contemplating how time has passed. Having no regrets and continuously moving forward in faith she smiles. Aki, her friend, through the flowing patterns and stairs clicks a vivid snapshot, then calls out, “Hey, look here, let’s go!”
*Chasing the shadows
Blue by Victoria
In anticipation she stands peacefully whilst looking at the shadows and colourful background weave through the reflections of the sun. The subtlety of the moment injects her to create this lovely masterpiece.
Dream Awake by Jay McCullough
Shyly, she practices ballet near the window thinking no one’s looking. Gracefully, she enjoys herself in the movements. Her father, quietly smiling, sees the opportunity of a beautiful moment to capture. Picturing the sunlight rays forming a shadow and lovely silhouette of his daughter, he snaps his shutter.
Through their photos and our personal photography journeys, we can see how we can influence one another. Changing vistas, new angles, patterns and structures bring with it a fresh outlook on photography. Let us continue to find our sparks in each other whilst growing to build our passion!
See more of their feeds on Instagram Aki | Victoria | Jay
Thank you, Aki, Victoria and Jay, for allowing me to express through your beautiful photos.
“Now, we are Fez!” Mohammed, our driver, announced in his broken English.
I sat up, bolt upright, shut my laptop and looked out the window. Something about the air in Fez gave off a sense of rawness that was so characteristic of Morocco herself. But if the streets of Marrakesh, where we’d just come from, were dipped in the deep terracotta hues of sunset, the labyrinthine streets of Fez’s centuries-old medina were kissed with the dusty sand-coloured tones of the Sahara.
Mohammed’s sharp voice cut through the air as he called the hotel to get directions, turning the steering wheel with his free hand. We weren’t even in the medina yet, but we were already lost. I didn’t mind, though. To me, one of the most eye-opening experiences of traveling anywhere is getting lost.
As we circled around attempting to make head or tail of our location, we’d ended up passing through a street that curved around the edge of a hill overlooking the rest of the city below several times, giving us a spectacular bird’s eye view of the entire city more than once.
Twenty minutes later, we stopped outside one of the entrances into the medina, luggage in tow, waiting for the riad staff to fetch us and sticking out like sore thumbs.
Bakeries, grocery stores, dimly lit teahouses and spice shops lined the road, and bearded old men sat in silence outside small restaurants, sipping mint tea and frowning as they scrutinized their surroundings. Young men pushing carts laden with everything from bread to clothes to old machinery shouted their way through the crowd, and pairs of women dressed in bright-coloured Moroccan djellabas shuffled in and out of the medina.
Children scurried about, weaving through the crowd and shrieking gleefully as they played together. Just inside the gateway, fruit sellers hawked their wares on wooden tables, and the aroma of freshly roasted corn wafted through the air. Just being inside the medina was a feast for the senses.
But some things stay the same no matter which part of the world you’re in: crowds of men of every age huddled together inside teahouses, rapturously watching soccer games on the TV, their conversation interjected with bouts of cheering and jeering.
The entrance to the riad we’d be staying at for the next two nights was an inconspicuous glass double door almost completely hidden behind two grocery stores, which left us feeling more than a little hesitant. But the humble entrance belied the exquisite interior of the riad. We were led down a tastefully lit hallway decorated with bright Moroccan zellije tiles of blue, red, yellow, white, and green, which opened up to a wide open-air courtyard whose emerald green tiles glinted in the sunlight cascading down from above. Plump white pouffes and ottomans neatly circled small hand-carved wooden coffee tables, and the faint scent of sandalwood drifted through the entire riad.
This, I learnt, was a hallmark of Moroccan and Islamic architecture. Traditional Moroccan riads were often purposely designed to have unimpressive exteriors that suddenly open up to elegant inner courtyards enshrouded in privacy, symbolizing the primacy of inner beauty over outer appearances.
In fact, Fez’s entire medina was infused with this elusive sense of hidden beauty. Every narrow alleyway and shophouse-lined avenue within the medina seemed to radiate so organically with a rugged sense of practicality that still somehow managed to be delicate in its beauty. Wandering through the maze of streets in the medina, I found so much attention to detail in the otherwise mundane.
Public water fountains dotted the streets, each of them breathtakingly decorated and painted in vivid colours that came together in an explosion of luminosity. Huge wooden double doors that stood at the entrance to almost every riad, restaurant, Sufi zawiya (spiritual centre), or mosque were embossed with calligraphy and arabesque carvings. Some of the streets in the medina were covered with wooden lattice structures that served to provide shade from the desert sun and filter just enough sunlight to brighten up the narrow walkways without making it too warm. And despite the abundance of butcheries and fish stalls all over the medina, no matter how many times we walked past, there was never any stench or any kind of unpleasant smell that is so often associated with wet markets, because the produce in Fez is always fresh.
The myriad alleyways winding through the medina appeared to be deceptively stuffy, yet the minute I stepped out of the blazing warmth of the streets outside the medina and into any of the alleyways leading into the medina, I was enveloped in a cool embrace that seeped into my skin and instantly refreshed me.
It turns out that the materials used to build the houses within the medina were specifically chosen because of the cooling effect it had both inside and outside the house.
Even though a unifying colour scheme of creams, browns, and greys runs through most of the medina, occasionally, the desert-like hues of the medina were interrupted by vibrant splashes of colour that popped out of nowhere.
As I made my way from site to site within the ancient medina, I came across a rainbow alley packed with displays of oil paintings, bracelets, carpets, bags, and prayer mats. A group of street artists had taken it upon themselves to literally brighten up a dark alleyway within the medina.
As I continued wandering around, I caught a whiff of an overpowering fragrance which beckoned me further and further into the medina until I found its origin: a small shop selling pink rose water that was being made and bottled on the spot. A bespectacled young man in a lime green t-shirt, camo pants and a red taqiyah (Muslim skullcap) stood amidst huge woven baskets of pink rose petals and neatly packaged glass bottles of rose water, diligently simmering the rose petals in water.
Because of the brown monochromatic colours with which she’s predominantly painted, Fez herself may initially come across as rough around the edges and even drab compared to other Moroccan cities.
Yet the maze-like streets of its pristine, ancient medina immediately sweep residents and travelers alike into a cradle of veiled beauty whose authenticity is at once rejuvenating and calming in a world that, in so many ways, has lost its heritage to the throes of modernity. I know I’ll be back here again, one day.
Santriani is a freelance writer based in Singapore.
You can see more of her work at the links below: