Innholdsfortegnelse for #6 2025 i Artdoc Photography Magazine

“Visual artists are innate observers of the natural world. - The Artdoc Team Never before has nature been so fragile as in the Anthropocene. We face a world filled with cataclysmic extremes, torrents, floods, and wildfires. The natural world urges us to observe its inner rhythms, respect its balance, and listen to its whispering voice. Visual artists are innate observers of the natural world. In this issue of Artdoc, we introduce photographers, the readers of Nature's Voice, showcasing four portfolios that offer their own Perspectives on Nature. Their reflective works about nature restore our inner balance and our sense of connection to the earth's unity. In The Material Life of Plants, Teri Figliuzzi explores photography as a way to preserve the beauty of change during times of upheaval and uncertainty.…

Figliuzzi's work is guided by a belief that significance does not reside solely in moments of arrival or perfection. “At the heart of my work is the belief that every stage of life holds beauty, meaning, and purpose.” Her attraction to botanical material emerges from this awareness of time and transition. “I am drawn to nature's cycles of growth, decay, and rebirth, and how these rhythms mirror our own lives. Each botanical fragment I gather carries its own story, shaped by time, weather, and circumstance.” Alternative photographic processes allow these traces of life to remain visible, preserving evidence of fragility alongside endurance. “Through alternative photographic processes, I try to honour these stages and highlight their inherent fragility and strength. These themes matter to me because nature has always offered solace,…

“I create cameraless photograms and photo collages that explore the intersections of place and self by transforming found materials into personal narratives. Working outdoors in rural settings, I use a custom-designed, light-proof darkroom tent. I begin each photogram by arranging found objects from nature on photosensitive paper, then expose the composition with quick flashes of light from a small torch, altering it with each exposure. The paper is then processed in the field using eco-friendly chemicals to reveal the final image. Developing photograms on site embraces environmental variables such as humidity, temperature, water quality, and sunlight, adding unique effects to each piece. This process allows me to draw, collage, and paint with light, uncovering patterns in nature that mirror patterns within myself. Each photogram becomes a portal to places I…

Cyanotype entered photographic history not as an expressive medium, but as a tool of clarity and control. Developed in the mid-nineteenth century, it served science, engineering, and botany—fields concerned with classification, measurement, and reproducibility. The distinctive Prussian blue surface was valued not for atmosphere or ambiguity, but for its reliability. It rendered information visible, transferable, and fixed. In its earliest uses, cyanotype helped to map the world. That this process has become central to contemporary photographic language centred on fragility, ecology, and memory signifies a profound cultural shift. Among artists working today with alternative processes, cyanotype has been reclaimed as a method of slow observation and experimentation rather than description—one that emphasises material presence and the boundaries of human perception. In a growing field of contemporary practice, cyanotype has developed…

“Photographed from a helicopter, Life of the Land is a series of images made through acts of attentiveness—a bird's-eye meditation on light, time, form, and elemental memory. Photographed from above Hawai‘i Island, I found a stillness that allowed me to listen more deeply, to witness the ancient conversation between earth and sky, and to photograph not only what I saw, but what I felt. These photographs reveal ancient lava flows, cones, and fissures that etch themselves across the terrain like pages torn from a geological journal spanning millennia. Each formation offers a fragment of Hawai‘i's mo‘olelo—a story of resilience, adaptation, and ongoing transformation. More than records of geological features, these images are windows into the soul of the ‘āina (land), revealing the timeless forces that have shaped and reshaped it.…

“The Way Home is dedicated to my son Jackson and to others I have known whose funeries I was unable to attend. It is also for all those who have suffered the loss of a loved one. This work forms a second chapter in my In Lieu of Flowers series, which is both healing me and intended to help heal others. With this memorial project, I draw on my long-standing fascination with layers, abstraction, ambiguity and the natural world. Working with floral elements, mostly from my garden, I express gratitude for plants as ever-renewing life forms that ultimately provide sustenance for everything on the planet. The images are digital composites, produced as archival pigment prints on semi-translucent vellum. Hand-applied gold and silver metallic-leaf gilding on the reverse of each print…

For Pumfrey, the point of departure is not a concept but a condition. His work begins before language, before categorisation, in what he describes as an unnamed space of awareness. “The place I always begin from is something without a name. A kind of zero-point. It's a dimension where the things that rise up in my awareness stand there without labels, bare and undecorated, as if language hadn't yet touched them.” Working from this place requires relinquishing certainty. Pumfrey does not frame photography as an act of control or mastery, but as a yielding to something less easily articulated. This openness also shapes his relationship to time. Images do not announce themselves on demand, nor do they necessarily resolve themselves immediately. “The process isn't linear. It loops and spirals, like…

“Intertidal explores the relationship between humans and nature within the intertidal zone of Sillon Beach (Saint-Malo), where Europe's largest tidal range, governed by the gravitational pull of the Moon and Sun, creates a cycle that shapes both the landscape and human activity. I examine how we might shift from viewing nature as something to manage towards recognising our fundamental interdependence with it. The project employs a dual approach: documentary photographs capture human activity on the foreshore, accompanied by testimonies from visitors. Bodies move according to ancestral patterns—collecting shells, searching tide pools—revealing our connection to cosmic rhythms. In contrast, experimental chemigrams and photograms invite natural elements—sand, seaweed and seawater—as co-creators. These materials interact directly with photographic emulsion, generating their own “self-portraits” and reversing the traditional observer-observed relationship, embodying the reciprocity at…

We invite art photographers to submit work for The Inner Lens — a contemplative look at the unseen worlds we carry within. This open call centres on photography that reflects inward, capturing the layered complexity of introspection and emotional depth. In a time marked by noise, uncertainty, and shifting light, we're interested in images that do more than describe — photographs shaped by inner weather, personal mythologies, and the moments we rarely name aloud. For this open call, we welcome photographic work that reflects the interior landscape — emotional, psychological, or atmospheric. From abstraction to portraiture, from constructed images to personal documentary, we are drawn to work that holds presence, sensitivity, and thought. SUBMIT YOUR WORK SUBMISSION DEADLINE: 18 JANUARY 2026 ARTDOC.PHOTO/SUBMIT…

“My subject matter is the capture of this world's beauty, drawing with a camera, feelings, intuition, different forms of knowledge, and some preparation. Whether it is a traditional portrait, design photography, a portrait of a flower in the rays of light, or an ordinary pumpkin in a surreal representation, I use standard methods and materials, any sources of light, and have a particular fondness for portable flash. My passion lies in juggling colours, textures, textiles, and reflective surfaces to catch an attractive sense of movement and ease, making the lines dance and sing. About Ekaterina was born in Tashkent, Uzbekistan, in 1983. At the age of 18, she moved to Moscow. There, she followed a contrasting path, from Specialist to Head of Financial Departments, and later a career from wardrobe…

“Everything is worth observing, from the natural world to everyday objects, from the elegant flight of a songbird to the exploration of urban decay. Capturing these things in a photograph or sound recording, creating an image from nothing, has been my lifelong work and passion. I am always looking. About Robert David Atkinson is an American photographer based in New York City with over 35 years of experience in commercial still life, personal nature, and landscape photography. His fine art bird photography appeals to bird enthusiasts worldwide, capturing the ethereal and intangible beauty of birds. Atkinson's debut book, A Silent Witness to Beauty, features bird imagery accompanied by short fictional narratives that extend beyond mere visual representation, immersing the viewer in the world and viewpoint of his subject. www.robertdavidatkinson.com…

“Photography is the art that combines reality and vision, feeling and truth, psychological depth, and political awareness. - Artdoc Magazine Artdoc Photography Magazine #6 2025 e-ISSN 3050-8029 Published by Artdoc www.artdoc.photo Merel Galestian | CEO © 2025 Artdoc Photography Magazine © 2025 All images by the featured photographers All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or any information storage or retrieval system, without prior permission in writing from Artdoc Magazine. Front cover photograph © Figliuzzi Teri | Proceed - Gathering Onward Back cover photograph © Figliuzzi Teri | Forward - Gathering Onward www.artdoc.photo We believe that photography is the most relevant global plastic form of art. Photography is a tool to…