Before I flew to Iceland for the first time, I had already imagined the story I wanted to tell with my photos. A story of the smallness of man in the face of the vastness and power of nature. Our journey around Iceland lasted two weeks and I didn’t feel that way once. Everything, despite its boundlessness, had good proportions and was in its place. Mountains covered with clouds. Water penetrating every possible crevice. The sun is not setting. Empty spaces filled with lupine flowers. I felt a very natural comfort.
Isolation
The journey around Iceland was supposed to be a story about solitude because, after all, there are only 368,590 people on the island. But I didn’t get to experience that either. Everyone has their own space of privacy and autonomy there, so there is no need for barriers. There are no fences or curtains. Even the sheep don’t bother and come right up to the road. Maybe that’s why it’s so easy to understand that we are not the center of the world.
Vanishing
Unfortunately, this is also a bittersweet story. In the face of ubiquitous nature, it is very easy to see its scarcity in the daily life of crowded cities. It’s as if the lack of space to wander with our eyes diminishes our perspective. However, I was most struck by this when visiting the Langjökull Glacier. It is the second-largest in Iceland (roughly the size of Lisbon) and could disappear in about 80 years.
Travel Palette of Iceland
Fortunately, the journey around Iceland is still a story about colors. It’s surprising how many shades can exist in such harsh conditions of fire and ice. Everything has deep hues that change tones. Cool and silvery in the fog or warm as soon as the sun comes out from behind the clouds. In addition, somewhat playfully contrasting yellow and purple flowers. A color palette so different from pastel cities.
A photo shoot in Genoa can take place in many places. The proximity of the sea, charming narrow streets with small houses and elegant palaces remembering the city’s former glory provide endless opportunities for a photographer.
I took the photos with Maria Rosa on one of my favourite routes in the Old Town. We start on the elegant via Garibaldi from Piazza Fontane Marose. The street is also known as Le Strade Nuove – New Streets. There are Renaissance and Baroque city palaces included on the UNESCO World Heritage List. I especially recommend one of them for photo sessions – Palazzo Doria Tursi. Currently, there is a city hall there, so it is open to everyone and you can easily visit its courtyard and cloisters. This time, however, we did not go inside, taking advantage of the beautiful light on via Garibaldi. The summer sun slowly disappeared behind the roofs of the buildings, casting theatrical shadows on the street facades, creating a perfect scenery for photos.
At the end of via Garibaldi we turn into the narrow street Salita di San Francesco and then continue on Salita alla Spianata di Castelletto. Both streets are located on a slight hill, so you need to be prepared for a small climb. However, it is worth it – colourful tenement houses with green shutters take us to a completely different atmosphere. Additionally, you won’t meet many tourists here, which ensures a calm and intimate atmosphere when taking photos.
After a short climb, we reach the Belvedere Castelletto observation deck. From this place we can see a panorama of the famous grey roofs of Genoa and the most important buildings of the city: the aquarium, the cathedral and the lighthouse. It is also one of the best points (especially in autumn) to see the sunset over the city. After dark, it is worth staying there a little longer and ending the day with a glass of wine. I recommend the Calice bar the most.
If you don’t feel like climbing, you can also get to the observation deck using the elevators: Ascensore Castelletto Ponente and Ascensore Castelletto Levante.
Have you heard about the hidden beach in San Fruttuoso? If you haven’t lived in Liguria, probably not. This undiscovered gem is located on the peninsula between Camogli and Portofino. A pebbly beach with emerald water hides in a bay among rocks and pine trees. On its shore, the Benedictine fathers built their abbey – Abbazia di San Fruttuoso (10th-13th centuries). The white walls of the monastery contrast beautifully with the strong colour of the water and trees. Another hidden treasure of the bay (unfortunately only visible to divers) is the statue of Jesus, Christ of the Abyss, erected at a depth of 17 metres. San Fruttuoso can only be reached by boat or on foot via a mountain trail. Its inaccessibility, proximity to the monastery, omnipresent nature and its elements make the place even more magical and sacred. And despite the cloudy November weather, I was sure that the photo session in San Fruttuoso would be an unforgettable memory for Maddie and Greg.
How do you plan a day trip to San Fruttuoso?
If you ever visit Liguria, San Fruttuoso is a great idea for a one-day trip. As I mentioned above, the abbey can only be reached by boat or on foot. The ferry leaves from the port of Camogli (Cruise Terminal) and runs between Camogli – Punta Chiappa – San Fruttuoso. You can use this company, for example. The journey takes about 30 minutes and from the ferry deck you can enjoy a beautiful panorama of Camogli. There are also two trekking trails leading to the abbey. The first (Batterie) is very challenging and leads partly along a cliff. On the route you can see several World War II bunkers. The second (Pietre Strette) is located inland and is much easier. There are several small bars in San Fruttuoso, but remember that they are only open during the season. So if you want to have a picnic on the beach, you should also consider taking drinks or food with you.
Żaneta studied Italian at the university, so choosing Italy for her honeymoon was not a surprise. Deciding where exactly she wanted her post-wedding session was a little more difficult. Italy has countless breathtaking, romantic places. Ultimately, the Ligurian coast won. I suggested several nearby locations for the photo session, including Lerici, Sestri Levante, Cinque Terre and Portovenere. Ultimately, the bride and groom chose one of Cinque Terre – Riomaggiore from my proposals. I was excited about this choice because the small seaside town offers many photographic opportunities. Picturesque, narrow streets hidden in the shade create an intimate atmosphere and allow for a moment of tenderness away from prying eyes. The energising colours of the facades create a contrasting background to the black and white newlyweds. And on top of all that, the proximity of the sea, fishing boats in a small port and a pink sunset at the end of the day. Can you imagine a more beautiful scenery?
Is August a good month for a photo shoot?
The wedding photos in Riomaggiore took place in August. The summer sun gives the colors incredible intensity. And the amount of light allows you to take photos without rushing – sunset is after 9 p.m. However, there are also some downsides. High temperatures make it difficult to stay in wedding clothes and makeup. That’s why I often encourage you to plan your day in such a way that the fatigue from the all-day heat is not visible in the photos. Moreover, August is holiday time in Italy, so the number of tourists and prices definitely increase. As you can see, I have my tricks to avoid crowds being visible in the photos. However, I suspect that more introverted people might feel awkward posing among so many people. Therefore, if you have a choice, I recommend sessions in late spring (May, June) or early autumn (September). During these periods, the heat is not yet noticeable and the number of tourists decreases. I must admit that autumn sunsets are my favorite.
I encourage you to check out other galleries presenting portraits of couples.
The waters are barely lit on the surface, but you can feel their dark depth. The sea is like that, and that’s why I love it! A call to life and an invitation to death.
Albert Camus, American Journals
The artistic collage presents the story of the relationship between the Girl and the Sea. This extraordinary dynamic oscillates between harmonious symbiosis and delicate competition. The story begins with a spontaneous decision – a brave leap forward. The situation is getting out of control. However, the paralysing feeling of falling and the moment of panic disappears in the rhythmic waves of water. Natural meditation and surrender to the power of nature make your self-confidence return. Slowly, a relationship begins to form between the girl and the sea. The control gained over the situation is not just a rigid boundary, but a joyful synergy of coexistence. The girl can draw from the source of the plastic power and unbridled freedom of the sea. However, the vast depths of the sea have their dark secrets and corners of horror. Perhaps one day the Girl will also become a part of these undiscovered places. But in this moment of triumph, it doesn’t matter.
Behind the scenes of the photo session
The photo session with Francesca was a unique artistic challenge for me. I knew I wanted to experiment with a new means of expression, and my open model responded fantastically to the ideas. We took the photos during one of the closures of the Covid-19 pandemic. Of course, I had neither a professional studio nor lighting at my disposal. I took photos in a room from which I had removed all the furniture. The photos took as long as the natural light allowed. Perhaps these limitations and isolation inspired me to create a collage with the sea, which I associate with unbridled freedom. Moreover, I have always believed that water is a very plastic medium through which feelings can be symbolically shown. For this project I used my photographs of the Ligurian Sea and the Gulf of Paradise (Golfo Paradiso) in Camogli. The uniform sky background highlights the main characters of the photo – the Girl and the Sea. A white light source accompanies the girl. It can be the sun or the moon at the same time, combining their unchanging masculine and flexible feminine energy.
I invite you to see other artistic portraits in this gallery. You can read more about my personal connection with water on the “About me” page.
The small town of Żyrardów near Warsaw has the atmosphere of an English industrial city. Not without a reason. The first thing that catches the eye after arriving in the town is the coherent, brick buildings. Such uniformity in urban planning is not common in Poland. However, few people realise that garden city Żyrardów has origins in the concept of the British planner and urban planner Ebenezer Howard.
The Concept of The Garden City
The industrial revolution in nineteenth century England had a very strong impact on urban planning. People came to cities in search of work, which led to overcrowding and deterioration of living conditions. The answer to this problem was to be “garden cities” on the outskirts of large industrial centres. Ebenezer Howard in his concept tried to combine the features of urban and rural buildings. The advantages that were to attract new residents were:
sparsely populated – 32,000 people in 9,000 acres (3,642 ha),
green areas (4:1 ratio with built-up areas),
self-sufficiency of the city,
urban infrastructure and access to cultural and social life,
compact, low housing.
His satellite “garden city” had a concentric plan. The boulevards radiated from its centre, dividing the city into six equal parts. In the centre Howard planned a round square with a garden and surrounding public and cultural buildings. Other rings extending from the centre are: the Central Public Park, a glass arcade – a marketplace, a residential zone, a green belt and an industrial zone. Six of these satellite towns are located around the central city. They were all communicating with each other and surrounded by arable fields. In Poland, the greatest number of “garden cities” were built around Warsaw.
Garden city Żyrardów did not reflect Howard’s exact concept, but adapted many of its features. The settlement was established among fields and forests in 1830, when, on the order of the government of the Kingdom of Poland, Filip de Girard 1 moved a linen factory 2 there. In 1857, the new factory owners, Karol Hielle and Karol Dittrich, extended the settlement based on the idea of a “garden city”.
Żyrardów as a Garden City
Carefully prepared plans made Żyrardów a self-sufficient centre. Compact, low housing estates for employees had higher standards. Buildings surrounded by gardens had storages, allowing for storing supplies and breeding small animals. Seven villas, inspired by the French Renaissance, were designed for the factory’s senior officials. The service part included, among others a nursery, schools, mills, a slaughterhouse, shops, a bathing beach, a laundry, a canteen, a fire brigade, a hospital, churches and a cemetery. All buildings had a uniform style and materials (brick). Of course, greenery has not been forgotten. The buildings were built on large plots of land, surrounded by gardens and green belts. Public parks had sports infrastructure (fields) and cultural infrastructure (amphitheatres). Until the outbreak of World War I, Żyrardów was the largest linen factory in Europe.
1Philippe Henri de Girard is a French engineer and inventor, incl. first flax spinning frame. In 1825, at the request of the Minister of the Treasury of the Kingdom of Poland – Prince Franciszek Ksawery Drucki-Lubecki, he took the position of chief mechanic at the Mining Department of the Revenue and Treasury Government Commission. Interestingly, the very Polish-sounding name of the city comes from the French name of Filip de Girard, or more from its polonized version – Filip de Żirard. 2 The factory was originally located in Marymont – a district of Warsaw.
This photo session was inspired mainly by nature and femininity. The portrait with flowers became the perfect answer to the next lockdown, longing for nature and the upcoming winter. The idea of photos also refers to the language of flowers, the symbolism of which has always fascinated me. Probably each of us knows that red roses mean love and white lilies signify purity. But in fact, each flower has a hidden message for us.
Language of Flowers
The symbolic meaning of flowers has been present in culture for centuries – adapted from classical mythology, religious symbolism and ancient tradition. However, it was Louise Cortambert (pseudonym Madame Charlotte de la Tour) that defined the cryptologic language of flowers by writing her dictionary Le langage des Fleurs (19th century). Her book conquered mainly France, England and the United States, as well as other European and South American countries.
The Victorian era (Great Britain, 19th century) was particularly fond of the secret language of flowers. At a time when direct expression of affection was unwelcome, floral arrangements became intercessors of hidden messages. The “talking bouquets” were called nosegays1 or tussie-mussies. They were often part of clothing – they were kept close to the nose, used as a brooch, hair ornament, or tied around the waist. Interestingly, the idea of wearing bouquets on clothes has a much less romantic origin. Flowers and herbs placed close to the nose was a way to deal with plagues and the unpleasant smell of dirty cities. Nowadays, tussie-mussie has survived as a popular wedding accessory.
Ilaria & Alstromeria
We chose flowers for the session together with Ilaria, guided by our intuition. All in very feminine tones of white and pink. I checked their meaning afterwards. It turned out that they perfectly match Ilaria’s personality and convey a very interesting message:
Alstroemeria – Sacrifice⠀
Eustoma – Recognition⠀
Gerbera – Joy⠀
Gypsophila – Infinite love⠀
Pink Carnation – I will never forget you⠀
I decided to complete the portrait with flowers with pictures of frozen alstroemeria. The abstract, watercolour effect of the close-ups is the perfect addition to the entire gallery.
If you are curious about the meanings of other flowers, you can use this dictionary. I also invite you to contact me for flower photo sessions and to see the other portrait gallery.
Mediaeval conflict between secular and spiritual authority had a great impact on the city. Papacy, emperor and Italian city-states were involved in the outside strife. While the Ghibellines (supporters of the empire) and the Guelfs (supporters of the papacy) fought internally. Bologna used to pass from hand to hand many times, as a part of the State of the Church or as a city of the Lombard League. Turbulent history caused construction of many defensive buildings. Whereas resilient development of a Mediaeval commune (12th – 14th century) resulted in demographic growth. Urbanism of the growing city presented a challenge. The independent city was supporting its economy by using local materials, such as selenite1, clay or oakwood. Under the influence of these circumstances, architecture of Bologna formed its characteristic features.
The Two Towers … for a living
In the 12th and 13th century Bologna had to look like a Mediaeval version of Manhattan. In this period, there were around 100-180 residential towers. It is easy to guess that the buildings served as an accommodation and a place of defence. In this way, rich families were protecting themselves against local and outside conflicts.
All the towers were built according to a similar scheme.The structure, raised on pile foundations, had a plan similar to a square. The base was made of a local material – selenite. The representative ground floor connected the upper floors only with easily removable stairs, which were removed in the event of an attack. Thereby households were hiding from the enemies on the higher part of the tower. Lighter construction of rubble masonry2 was applied above the base. A space between double, brick-built walls was filled with hardcore, stones and lime mortar. The thickness of the wall decreased towards the top. Characteristic square holes in the structure served to fix a scaffolding. Dark and narrow towers were not a perfect place to live. With time, they become just a symbol of richness in the race for the highest building.
To make better use of the limited space of the growing city, the towers were demolished or adopted to public functions (e.g. jails or shops). Just 20 of them survived until today. The most famous Two Towers of Bologna are Asinella (97.2 m high) and its crooked neighbour Garisenda (48 m high, 3,2 m angled). We can even find mention of the latter in Dante’s Divine Comedy.
As when one sees the tower called Garisenda from underneath its leaning side, and then a cloud passes over and it seems to lean the more, thus did Antaeus seem to my fixed gaze as I watched him bend. 3
La Rossa – The Red City
The nickname of Bologna – La Rossa (The Red) is mostly associated with the resistance movement and Italian Communist Party. However, the history of this colour is much older. In the 12th century the independent city placed importance on local resources – clay (bricks and terracotta), selenite, sandstone and oakwood. Natural red hue of the raw materials, especially these made of clay, accented an independence from the Pope (represented by white colour). Terracotta – it. terra cotta means literally “baked earth”. It was used mostly as material of decorative elements for example sculptures, tiles, slates or gutters (sima). Also, many buildings have a characteristic finish of walls. Sagramatura is a technique in which lime plaster with pigments covered the brick in such a way as to preserve the texture of the wall. The best examples of the mentioned decorations are renaissance palaces Palazzo Bolognini Amorini Salina and Palazzo della Mercanzia.
Neo-Gothic architecture of Bologna also referred to mediaeval materials and colours. In this way, for ages, red dominated the historical centre of the city. Nowadays, to prevent consistency and colour scheme, the city introduced the regulations called “Piano di Colore”4. The rules define all acceptable hues of red that are allowed on elevations.
Limitless portico5
By the end of the 13th century Bologna was in the top ten most populated cities of Europe – around 50 000 citizens. There was not enough space for such a population. A difficulty was that wooden structure of buildings hindered upper extensions. Narrow streets limited the width of the houses. Moreover, property tax was dependent on the size of the ground floor. But smart Bolognesi found a way to solve this problem. To increase the space of the building, they started to build light, wooden construction in front of the main facade, but starting from the first floor. Initially the structures had a form of a bay window6 or covered terrace. Very fast, the citizens understood that they can increase the construction even more by supporting columns on the base floor. In this way bay windows transformed into porticos.
Covered passages also had extra advantages – protection from the sun and rain. The city authorities appreciated the usefulness of porticoes, so in 1288 they ordered their construction in front of every house. The regulations determined a minimum height around 2,66 m – a size of a man with a hat sitting on a horse. Nowadays porticos in Bologna have a total length of 38 km. One of the most famous passages starts from the city gate Porta Saragozza and leads to the sanctuary of Madonna di San Luca. The fun fact is that it has exactly 666 arches.
Your next stop in this architectural journey around the city should be Sfolia Rina, where I have tried the best designed ravioli. Also I would like to thank Giulia, who answered with great enthusiasm for all my questions about the city.
1Varieties of gypsum, known also as a moonstone. 2Rubber masonry – it. muratura a sacco, la. opus coementicium. 3Divine Comedy, Inferno, XXXI, 136-140. Translation by Robert Hollander and Jean Hollander. 4Piano di Colore – it. colour plan. 5Portico – la. porticus “colonnade, covered passage”. Open part of the base floor limited by at least one row of columns, which support upper levels or roof. 6Bay window is a protruding part of the main elevation, with a separated roof, that starts from the level of the first floor.
Best illuminated European city or capital of the Age of Enlightenment?
Paris – the City of Love. It is the first association that comes to our mind. However, etymology is more mundane. The name of the city does not derive from the Trojan prince (and lover) Paris. It came from the Celtic tribe Parisii that used to live in this area. Personally, there is another alias of the city that I find more exciting: Paris – the City of Light (La Ville Lumière). It refers literally to urban illumination but also to the Age of Enlightenment (the Age of Reason).
Enlightment
One of the most important ideas of the age are: primacy of reason (rationalism, humanism), exclusivity of natural laws and forces (naturalism) as well as transformation of social, religious and political life (reformism). The City of Light played an important role in this period. The Age of Reason began (1715 – death of Louis XIV) and ended (1789 – outbreak of the French Revolution) in Paris. This is precisely where Diderot and d’Alembert published the first encyclopaedia. Montesquieu was promoting the theory of separation of powers. And Voltaire canvassed for rational thinking, liberalism and tolerance. Speaking about architecture from this period, it is noticeable that time frames are less precise and ideas are not that clear-cut. In the time of the Enlightenment, we are able to distinguish two totally different styles – Late Baroque (also known as Rococo, 1675 – 1750) and Neoclassicism (1760 – 1830).
French Architecture of 18th Century
Baroque is one of the most decorative architectural style. Full of theatricality, gold-plated details reflected in mirrors as well as dramatic light contrasts on rotund forms. As if it were not enough, Rococo brought even more ornaments. Surprisingly, the style did not lose its lightness. A spectator can be overwhelmed by splendour but definitely not by heaviness of forms. The style impacts our sensuality in a sentimental and sly way. An iconic example of the French Baroque is Palace of Versailles with its stunning Hall of Mirrors.
A successive style – Neoclassicism was a better representation of the the Enlightenment’s theories. Archeological research of Herculaneum and Pompeii1 became an impulse of a throw-back to classical architecture of Ancient Rome and Greece. Also great minds of this age (like D. Diderot, J. J. Rousseau) were promoting simplicity and antique values, determining a way forward of art. Thus, purist forms straight from Ancient Rome and Greece replaced exaggerated Baroque decorations. Monumentalism and harmony of the buildings was brought out by rhythmic columns and a symmetric plan. Balanced amount of ornaments lent elegance and dignity but did not resort to minimalism. In Paris, the most well-known examples are Arc de Triomphe and Pantheon. The new style was also implemented in the Palace of Versailles – Petit Trianon2 and Belvedere3.
Louvre Palace is an interesting comparative example. It has elevations in both of the above-mentioned. Western (inner) facade of the Cour Carrée – Pavillon de l’Horloge (Clock Pavilion) is baroque. Eastern (outside) facade of the Cour Carrée – Colonnade de Perrault has a typical classical style. You can find the scheme of the museum plan here.
Illumination
An evening walk along the Elysian Fields or view for the night illumination of the Eiffel Tower (20 000 light bulbs!), is enough to notice an important role of artificial lighting in the identity of the place. Paris – the City of Light was one of the first European cities with gas street lighting on a big scale (1829). Around thirty years later, the number of the lamps increased to 56 000. Nowadays, there are 296 buildings and 33 bridges with special illumination. It is no wonder that Paris by night is full of life.
Moreover, I pointed out natural lighting conditions during the day. In November the city had an elegant, opaque light in a dove-grey hue. Soft colours of cloudy sky and monochromatic town-houses were in contrast with sharp angles of dark mansards4. Deep tones of autumn trees were representing the last energetic points of summer. Maybe, except for permanently crowded bars. To be honest, I really liked this sentimental version of Paris.
1Herculaneum and Pompeii were two ancient cities in Italy, destroyed by volcanic eruption of Vesuvius (79 AD). 2Petit Trianon – Small Trianon is a small château, built in the Versailles garden for the king’s mistress Madame de Pompadour. 3Belvedere (from Italian for “fair view”) – a garden building in the form of pavillon, terrace or open gallery that has a scenic view for particularly interesting composition or viewing axis. Because of that it was mostly located on a hill. 4Mansard – living compartment in the attic. In this case the roof has a specific two-slope shape. An upper part is more flat (small pich). A lower part is almost vertical. The roof cover is also part of the facade of the last level.
Ponta Delgada is the biggest town on the Saint Michel Island (São Miguel). It fulfils a function of the Autonomous Region of the Azores capital as well. Other eight islands of the archipelago have equally interesting names: Flowers, Crow, Beech, Peak, Saint George, Charming, Third, Saint Mary (pt. Flores, Corvo, Faial, Pico, São Jorge, Graciosa, Terceira, Santa Maria). It was February. The sun used to appear rarely. Because of that, we were celebrating this moment, having breakfast on a driveway of a rented guest house. With an additional hour1 we stopped our inner rush. There were nine of us but everybody had its own space of the isolation. We have been discovering places independently until we were imbued with sky, earth and water. Unknown Island belonged to us for a moment.
Sky
A bird was circling above our heads. Maybe it was a hawk, that had been seen by the sailors of Henry the Navigator? Portuguese rediscovered islands in the 15th century and the name of the archipelago probably comes from the word açor (pt. hawk). Famous Azores High was bringing us rain and wind spontaneously. During the day our vision was escaping beyond the horizon, through undiscovered layers of mist. A far-sightedness was disappearing in the deep darkness of the night. All that mattered was in the range of the lamp’s light – table and us.
Earth
São Miguel could not hide its origin. Even if craters of extinct volcanoes are filled with water. They resembled oval mirrors and allowed us to see a double universe in all water tables. The black sand of coast was passing through the ocean’s hourglass. The only European tea plantations Chá Porto Formoso (since 1878) and Chá Gorreana (since 1883) were basking in the sun. Amber colour of the drink matched perfectly the tones of the sunset.
Water
It was still possible to feel the warm breath from the centre of the earth. Furnas (pt. cave), Fogo (pt. fire) and Sete Cidades (pt. seven cities) are three zones of volcanic activity, harbouring hot springs and geysers. In the complex of Terra Nostra red water2 of a swimming pool contrasted with the lacklustre greenery of a botanic garden. Hot springs in Caldeira Velha looked totally different – lush green vegetation was everywhere, like in a tropical jungle. Our bodies were melting in warm water until they became inert3.
Madeira or Azores? If you would like to know more about the Portuguese islands – check out other gallery about Madeira.
1In winter Azores has UTC -1 time zone, there is one-hour difference compared to Portugal (UTC+0) and two hours compared to Poland (UTC+1). 2Orange colour of the water is caused by a high content of minerals. 3Water temperature in Terra Nostra – 35-40 Celsius. Water temperature in Caldeira Velha – 20-34 Celsius.
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