Two Days of Photography

Two Days of Photography

Two Days of Photography

Dusk Over the Lake

We stayed out on the jetty until the colour came.

Nobody said much.

The water lay so still that the sky got to exist twice — once going up, once going down into the water — and the treeline between them was nothing but a black band.

Then it took a while to bring the picture out.

At first I pushed too hard, darkened it down until the reeds disappeared altogether.

But the picture didn’t want that.

It wanted to keep the shoreline, the detail in the grass, the edge of the trees.

When I finally let it be, the evening was standing there again.

Just as it was.

Leica Camera News

Mari Amman is an American-Italian contemporary artist working across disciplines with photography, installation, video, poetry, painting, sculpture, textiles and design.

She describes her own work as research-based, and uses terms such as Geological Empathy and Sublime Rheology to explore the relationship between people, nature, technology and built environments.

Young, Inspiring and International: LOBA Emerging Talent

The German photographer Serghei Duve won the 2025 Newcomer Award with the photo series “Bright Memory”.

In the project he explores his family’s connection to Transnistria.

Discover Serghei Duve’s work →

📷 LEICA M11 Monochrom · Summilux-M 1:1.4/50 ASPH. · f/2.4 · 1/4000s · ISO 3200 · 50mm · 2026-08-31

Don’t Paint Here

Somebody has sprayed a rule onto a wall.

With spray paint.

With an arrow pointing at the empty space beside it, and a little smiling face underneath, as if whoever wrote it could hear how it sounded while he was writing it.

I found myself standing there in front of it.

Two thirds of the picture is bare concrete, and it is exactly that emptiness the arrow points at.

Nothing.

A spot somebody has reserved.

There are rules out there.

They are just not the council’s.

The Empty Chair

Erik stands in front of the pictures.

His rollator beside him, and a little way off a folding chair, opened out, that nobody is sitting in.

Two places to sit in the room.

Neither of them used.

But that is what you do when you are really looking.

You stay standing.

You step closer.

You forget that you could have sat down.

On the Bench

They sit next to each other without really being together.

He looks down, off his own way.

She meets the camera.

In front of them stands the rollator with a coffee cup on it.

Behind them hangs a whole wall of framed photographs — chosen, cropped, finished.

The two on the bench are the only thing in the room nobody has framed.

📷 LEICA M11 Monochrom · Summilux-M 1:1.4/50 ASPH. · f/2.8 · 1/1000s · ISO 125 · 50mm · 2026-09-02

Four Beats

The wall is painted, the brick above it is laid, the sheet metal at the top is ribbed, and the grass at the bottom grows as it likes.

Four storeys, four kinds of repetition.

The disordered at the bottom, the jagged next, the exact above that, and the wide stripes on top.

I took the colour out.

In colour the painting becomes a loud thing on a drab wall, and the other three bands sink into background.

Without colour they stand as equals.

The bush on the right got to stay.

It is the only living thing and the only vertical in the picture, and without it the whole thing is just stripes on stripes.

The Castle Can Wait

Holger stands with the camera up at his face.

Behind him lies Strömsholm Castle, the whole building with its domes, dissolved completely into blur.

Everyone else goes there for the castle.

He stands with his back to it.

And his gaze does not go through the viewfinder but past it, to the right, out of the picture towards something I never got to see.

It is the second before.

Or after.

Never during.

The white lens is the brightest thing in the frame, and it sits right beside his face.

You see what he is doing before you have time to see who he is.

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Pictures from the Day’s Adventure