THE DECISIVE MOMENT
Photo: Alisa Martynova
From Our Chair
Welcome to 2024!
This edition is largely devoted to our Documentary Photography Awards. So, if I may indulge, this “From Our Chair” focuses largely on the processes we used and to provide a little context.
After a successful expansion of our Documentary Photographer of the Year in 2021, we changed the focus a little in 2023 with the desire to move from an overt “competition” to awards that would allow us to recognise and showcase more documentary photography. We also wanted to reflect support and development of documentary photography, and this is shown in the actual awards made.
Our intent was to select nine projects for exhibition, with three projects from each of a Members, Students and Open category. This format enables us to show work from our own RPS members, plus work of upcoming and student photographers, as well as from more seasoned and experienced photographers in the open category. In that respect it is fairly unique.
The submissions closed at the end of July. In total 235 projects, with over 3000 images were entered, spread fairly evenly across the three categories. The entries went through an online process of longlisting, shortlisting, and then final selection. We use the same system the RPS uses for IPE, and BJP uses for Portrait of Britain.
This year, our international panel of selectors included:
Alejandro Chaskielberg, photographer and curator, Buenos Aires
Liz Hingley, photographer, curator and anthropologist, London
Roy Mehta, Photographer and Lecturer, London
Rosy Santella, picture editor, Internazionale, Rome
Roger Tooth, former head of photography, The Guardian
The entire process was blind with the selectors having no information on the photographers, other than the images and the statements (and captions, if provided). Each selector scored independently, and scores were aggregated. Shortlisted images were announced in September and then checked for potential use of generative AI (which we prohibited). Final selection and discussions took place at a meeting in early November and the Awards were formally announced on 30 November at an online event. Making the final selection of just three projects was difficult as we had such strong entries. I am really grateful to all our selectors for giving up their time and for their diligence.
The selected projects are diverse, ranging from the impact of conflict, migration, reflections on history and memory, performance, ageing, mental health, and childhood. They provide an insight into the range of what documentary can do and how it can be used to tell stories.
The 2023 Awards are as follows: Student Category
Julián Cabral Lito Argentina Bursary
Sefa Eyol The Costs of Freedom Turkey / China RPS Membership
Tamsyn Warde On These Magic Shores UK Support Members Category
Michael Knapstein Midwest Memoir USA RPS Membership
Ruth Toda-Nation Love is a Life Story UK Support
Brian Morgan No Safety Net UK MPF Membership Open Category
Byron Smith Testament ‘22 USA Bursary
Alisa Martynova Nowhere Near Italy Support
Gerard Saitner Portraits of artists of condition-related art Austria RPS Membership
Consistent with the aim of developing the photographers and their practice, some photographers will receive one-to-one support as follows: Open (Mimi Mollica), Student (Laura Pannack) and Members (Liz Hingley). The support can be used to help develop their project or their practice; that is up to them.
We will have a short news item on the Awards in the next RPS Journal and aim for a more in-depth article on one or more of the selected photographers in a later edition. A future edition of The Decisive Moment will feature work from other shortlisted photographers.
A key activity in 2024 is our touring exhibition. So far, we have confirmed:
May - The Nunnery Gallery, Bow, London
June - Eden Court, Inverness
July - Stables Gallery, Stirling
August - Oriel Colwyn, North Wales
September - Arts Centre, Newcastle
October - St. John’s College, Oxford
November (tbc)- RPS House, Bristol
A huge amount of work goes on in the background to secure these venues, so I’d like to take this opportunity to thank Harry Hall and the regional groups who have helped organise this.
Along with the exhibition we plan to hold several in-person talks with the successful photographers or selectors, and other events, at selected venues in conjunction with the relevant regions and regional groups.
In other news it has been good to see members run more local activities including the exhibitions and online YouTube events in East Anglia, exhibitions in South East and a documentary/ contemporary collaboration in Central, with a new photobook as output.
If you have ideas for other activities or collaborations, please get in contact.
Finally, to help better promote and publicise events we have agreed that Documentary and Contemporary group events will be copromoted to each group as many of these events are of interest to both groups.
Mark A Phillips FRPS Chair, Documentary Group
rps.org/documentary/dpa-2023
From Our President
Documentary Photography Awards 2023
On the importance of the documentary genre …
It is only two years since I wrote an introduction to the RPS Documentary Photographer of the Year Awards 2021. In that brief time we have experienced the emergence of a technology that is blurring the line between reality and fiction. As Artificial Intelligence (AI) explodes pervasively into almost every aspect of life and society, it has at pace become an existential threat to the authenticity and credibility that defines the documentary genre.
At one extreme of the spectrum, AI has the ability to subtly alter aspects of reality yet, at the other extreme, particularly when in the hands of ‘bad actors’ who have no respect for the truth of journalistic and documentary story-telling, it has the ability to generate images (not photographs) depicting a completely false ‘alternative reality’ that masquerades under the long-established legitimacy of the documentary genre.
As the veracity of documentary-style images becomes questioned, eroding the very foundation of truth in storytelling, the potential consequences for society are profound.
Documentary photographs in their truest and purest form capture unembellished moments frozen in time. They are a testament to reality, unfiltered and unadulterated, serving as historical records bearing witness to events, cultures, and social issues.
In the early 1980s, at a time when I was devouring a college textbook, Pictures on a Page by Sir Harold Evans (1928-2020) - for fourteen years the Editor of The Sunday Times and the 1980 recipient of the RPS Hood Medal - the multi award-winning CBS television drama series Lou Grant was airing in the UK on Channel 4. The series told the story of the fictitious newspaper, the Los Angeles Tribune and, through its storylines, it provided a serious examination of ethical questions in journalism and argued in support of the principles of journalistic storytelling. In one episode, Lou Grant - the Tribune’s City Editor, played by Ed Asner (19292021) - made an impassioned statement on the purpose of the newspaper:
“… this newspaper informs, it alerts, it helps fashion public opinion, it acts as a guide for politics, for the environment, the arts, all aspects of society.”
Although a work of fiction, hearing this statement at the same time I was reading Evans’ Pictures on a Page, it had a lasting effect on my approach to editorial and documentary photography that I would carry with me into my post-college professional practice. I would argue vehemently that, with the rapid growth in the threat of AI to the authenticity of visual journalism and the documentary photograph, this sentiment rings truer for me today than it did over forty years ago.
More than ever before in the almost two centuries of the history of photography, the ambition and principles of the documentary genre must stand firm as the pillar of truth in visual storytelling. With the importance of an authentic, unaltered, truthful, and entirely visual narrative medium now of such crucial importance to society, never has there been a time of greater importance and relevance for the work of the RPS Documentary Group.
The committee and the members of the Group are international standardbearers of the genre and the Documentary Photography Awards 2024 should be seen as a beacon that lights the path to ensuring the genre and the practice of documentary photography remain true to their foundation ideals.
On behalf of the RPS Board of Trustees, I would like to thank Dr Mark Phillips FRPS and the entire RPS Documentary Group committee and membership for their unwavering commitment to truth and authenticity, ensuring that documentary photography remains an indispensable cornerstone in preserving our collective visual history and shaping a more informed and empathetic future.
Simon Hill HonFRPS President
Royal Photographic Society
Open Category
Byron Smith Testament ‘22
A Polish-Ukrainian couple says goodbye while on the line at the Polish-Ukrainian border checkpoint. Many of the nation’s men and some fighting-age women have been streaming across the border to join their countrymen to repel the Russian assault on the country on February 26, 2022.
Originally from Brooklyn NYC, and based in Athens, Greece since 2019, Byron Smith is a professional photographer who has been working as a freelancer since 2011. His submission Testament ‘22 was shot in Ukraine in 2022, starting a few days after the Russian invasion through to the end of December. In all, he visited Ukraine six times that year, travelling as extensively as he was able to.
‘I’m a seasoned photojournalist of conflict’, he explains, ‘and a few days after the war began, I embarked on a mission to document the country at war, hoping my work could help tell the unvarnished truth of what is happening on the ground at a human level. I made the pictures to show the truth of this war’s horrific nature to make a statement about the victims of this senseless conflict in Ukraine. I wanted to show the strength, dignity, resilience, and courage of a population who didn’t ask to bear this burden but who still believe they are doing it so the West and other democratic nations will not have to.’
He drew on Ukrainian culture for the title of his project. ‘It comes from my take on the original poem Testament (Zapovit, 1845) by Taras Shevchenko, whose literary works are considered the basis of modern Ukrainian literature and, to a considerable extent, of the modern Ukrainian language.‘ And it’s obvious that the time he spent in Ukraine in 2022 had a profound effect on him: ‘I was surprised by the hospitality of the Ukrainian people, some who had lost everything and had nothing but still tried to offer me whatever they had to make me, an outsider, comfortable. Under such dire conditions it’s something that will stick with me forever.’ It’s a recurring theme which says a lot about the Ukrainian people and their struggle.
Byron is clear about what being selected for DPA23 means for him: ‘I’m grateful to be recognized by such a prestigious photographic organisation. It means much to me since Roger Fenton (who helped establish the RPS), who photographed in Moscow, Kyiv and most famously in Crimea, was one inspiration as to why I became a photojournalist with a focus on the causes and effects of conflict. Winning recognition for this work helps keep the interest alive in Ukraine two years after the initial shock may wear off on the public at large.’
All images ©Byron Smith 2023
www.instagram.com/byronsmitty www.byronsmithphoto.com
Alisa Martynova’s project Nowhere Near is a metaphorical tale about dreams and migration which examines African migration in Europe, particularly Italy, France, and the UK. Alisa decided to draw an imaginary path crossing three countries following a stereotypical vision of African migration, where Italy is presented as the arrival place, France as the “waiting for departure” place, and the UK as the “wished-for” place. Speaking about her intent for the project, she says ‘I started my project in Florence, Italy, where I live, when the topic of migration was discussed everywhere, from newspapers and television to street and social networks. Not all opinions that I heard seemed right to me. More than everything, migration was spoken about in terms of numbers and statistics, and rarely from a personal human point of view. People were widely exposed to crude and often violent images and texts. Nonetheless, this kind of approach is essential to inform people of the situation, and after some time it causes a deafening effect. It almost contributes to the construction of a barrier between the subject of the news and the readers. People get used to the stories and photographs and have no more empathetic response to them. In my project, I wanted to invert this and speak more about what it was to be a migrant on a personal level.’
Adopting a traditional documentary approach to a large project, she spent a lot of time initially without her camera, speaking to psychologists and people who worked with migrants, trying to understand how best she could represent through images and metaphors the feeling of being a migrant. This gave her the foundations from which she could start shooting the project which was undertaken in Italy, France and the UK from 2018-23. She adopts an almost poetical approach to her projects, drawing on historical and scientific studies to help develop metaphors in her images which are at times deliberately vague, giving the viewer sufficient individual freedom to interpret the work.
She says ‘I truly enjoyed meeting the people I portrayed for the project. Many of them had fascinating stories to tell and were incredibly interesting people to talk to. For instance, I met Clayton. He came to Italy from Cameroon to study and when he was looking for a job to sustain himself during his university studies, he asked himself a question: what is there in Florence that is missing that I can bring in? He noticed that there was no school of African dancing. So he taught himself how to teach dancing and opened a course in a local dance school. Now he has a lot of students, is very active on social networks and holds dance challenges. He often goes on to the streets of Florence and starts dancing, gathering crowds around him who join in. One of his greatest dreams is to teach Europeans to move as freely as Africans.’
She entered the RPS DPA 23 because ‘I wanted to bring my work to the UK to be seen. I believe the more people have access to this kind of documentary work the more it has a chance to bring change to society and also connect different migration stories across countries. Receiving this award is a very big accomplishment and recognition for me.’
Open Category
Gerard Saitner
Portraits of artists of condition-related art
Portrait of Johann Hauser
Over thirty years ago, Paris-based professional photographer Gerard Saitner was working on a project for his photography studies at Fachhochschule Dortmund in Germany. His research led him, via the paintings of August Walla, to the artists at Haus der Künstler (House of Artists) at Gugging in Austria.
The back story to the Haus der Künstler is a troubled one. The institute was created in 1889 as a psychiatric clinic near Vienna but it gained terrible notoriety during the second world war for Nazi atrocities. In the post-war years it became a centre where patients were encouraged to create art as a form of therapy. And in 1981 the Center for Art and Psychotherapy was created there.
Gerard explains further: ‘The Haus der Künstler stands out as a haven of genuine creativity. It has a family atmosphere which counteracts the damaging psychological effects of institutionalisation. Its domestic and creative environment stands in contrast to the institutional world surrounding it. The art of the Gugging artists is entirely uninfluenced by artistic examples and is only determined by the personality and mental disposition of every individual. Art Brut is created beyond any tradition and thus also beyond the history of art. The Haus der Künstler has been visited by famous people like the artist Arnulf Rainer and the director of the Vienna Burgtheater, Claus Peymann. In 1994 David Bowie and Brian Eno also visited the Gugging artists.’
Gerard spent twelve days in Gugging, initially observing the artists by acquainting himself with them. ‘I wanted them to have confidence and trust me’, he explains. ‘I was interested in a personal contact with every artist. My concern was to portray the artist in relationship with his art. I was not interested in creating a picture story in a short period of time.’
Clearly delighted to have his submission Portraits of Artists – of Condition-related Art selected as one of three winners of the Open category, Gerard says ‘I now have the chance to attract a wider audience with my pictures of the Gugging artists, especially as the portraits have never before been published in a catalogue.’
All images ©Gerard Saitner 2023
Student Category
Julián Cabral
Lito
My uncle Carlos, called “Lito”, 53 years old, suffers from schizophrenia and severe maturation retardation, which seriously affects his mental health. Lito sticks his head out the door of a washing machine.
Nineteen-year-old Argentinian Julián Cabral is a student and photographer based in Buenos Aires. He took up the camera five years ago, discovering the documentary genre a couple of years later, and likes to explore the relationship between humans and their environment. His successful submission is a study of his chronically schizophrenic Uncle Carlos, known by the nickname Lito and after which Julián’s project Lito was named.
‘My uncle Lito has suffered for many years from issues that seriously affect his mental health’, says Julián.’ Today, after several decades, the reality is critical, the days that he steps on the sidewalk are becoming less and less, his words are not the same as before, and the sadness grows. His only light in the morning is my mother, my two brothers, and me. We are the only reason why he decides to continue walking the path of madness, for which he swallows a dozen pills a week, deigns to get up, turn on the radio and change the shirt he has been wearing since last month.’
Julián’s work was taken in his uncle’s house and shot from December 2021 to September 2023, with an intention of revealing how a person with mental health problems lives. ‘One day he decided to tell me about his life, his mind, what a person with mental health problems lives, feels and thinks’, says Julián. ‘A part of society which in my country and throughout the world is forgotten and made invisible. It brings to light the difficult situation that this part of society goes through. The most important thing with this work is for me to be able to leave a memory of the unfair life that my uncle and my family have had to go through.’
His uncle’s condition, and Julián’s photographic response, has clearly had an impact on his family. ‘One day, one moment, one second that I remember every time I talk about my submission is when I took the photo with my whole family and my uncle separated by a wall. That image was very important to me, seeing my entire family helping me narrate the reality of my uncle. This work was a very personal, very close work, which tries to show not only my uncle’s life, but that of my family. That day my two brothers, my parents and I were all at his house. The light was perfect. I placed my brothers in their respective places, I told my parents where to look, I waited for Daisy (my uncle’s cat) to approach his feet, I breathed for a second and I shot the image. After that moment, I felt complete, fulfilled, as if I had been able to get something out of myself. I felt like I was telling exactly what I wanted to say. It’s something very simple but for me that moment meant a lot.’
All images ©Julián Cabral 2023
www.instagram.com/juliancabral__ linktr.ee/juliancabral
Student Category
Sefa Eyol
The Costs of Freedom
Sefa Eyol is a Turkish-born freelance documentary photographer based in Shanghai, China, and is currently studying Photojournalism at Danish School of Media and Journalism. His work focuses on long-term photography essays examining social issues, and geographical, physical and spiritual isolation themes. His is most interested in the relationship between human beings and the environment. His project The Costs of Freedom was shot in Ukraine over a four-month period from April to July 2022.
He is succinct when describing both his intent and personal experience shooting the project: ‘I wanted to document the devastating consequences of the war and the struggle of the Ukrainian people for their freedom since the beginning of the war. During my stay in Ukraine, I witnessed many incredible stories and events. The one that impressed me the most was in the villages on the front line, where people who had lost their homes and stayed in shelters for months shared with us the food they still had after all this pain.’
Creating the submission in a dangerous warzone clearly had a profound effect on him: ‘I think I gained a lot of experience both as a photographer and as a person.’
All images ©Sefa Eyol 2023 www.instagram.com/eyolsefa sefaeyol.com
The funeral of Ukraine soldier Krupa Igor Stepanovych, 42, who was killed in an attack in Lugansk on April 20. Igor has 2 children, Marta is 10 years old and Nazar is 8 years old, they were there to say goodbye to their father.
Student Category
Tamsyn Warde On These Magic Shores
This image was made during the Covid-19 pandemic during the strictest lockdown rules. These sisters were playing in their garden and moved to the pavement when their parents went indoors. Playing in the street wasn’t permitted to keep people separated. The girls were frustrated by having to play in the garden and sneaked onto the street, they were climbing their wall and decided to climb onto my car. Their mother then appeared and they were hurried indoors!
Based in Winchester, Hampshire, in Southern England, Tamsyn Warde is currently studying for her MA in Photography on the highly regarded course at Falmouth University. Her successful submission On These Magic Shores was made in her home county and remains a work in progress which she started a couple of years ago.
‘Most of us have memories of the games that we played as children’, she explains. ‘You will often hear the romantic recall of days gone by when children played freely in the street. This is reflected in the images made during the 20th century which feature children playing outdoors in a time before digital gaming and the implications of pictorial consent. On These Magic Shores is a project exploring the spaces in which children play now. I’m interested in how play has changed as we move forward, particularly after the pandemic. It’s not unusual to move through urban spaces with no sign of how or where children are playing. Green spaces can be eerily quiet where previously groups of kids would hang out. Playgrounds created for children are numerous and designed by adults to appeal to their imaginations and enhance their physical, psychological, and social development. Play spaces are created in shopping centres, sports centres, and motorway service stations all as an aid to entertain children so that adults can go about their business.’
She is clearly fascinated by the way that children’s minds can run wild in their fantasy worlds. Not only is she capturing their imaginations on fire, she is also triggering memories of her own childhood and inviting the viewer to do the same. ‘My project is a snapshot of how children are playing today, an exploration of play indoors and outside, play organised by adults or children, children playing in groups or alone. I want to photograph children as they go about their lives and capture them in their own play worlds.’
Inevitably, sensitivity and permission are required to shoot subject matter like this. ‘It’s a challenge to photograph children on the street when they aren’t known to me, and rightly so. I must be very strict with my boundaries to protect the kids, and myself. I always get consent from parents and make sure that the kids are aware that I have permission before I make any images.’
On her selection in the Student category, Tamsyn says ‘Last year I was a winner in both The Portrait of Britain and The Portrait of Humanity awards. I’m now honoured to have been chosen (for DPA 23 competition) and I’m very much looking forward to working with my allocated mentor and furthering my practice.’
All images ©Tamsyn Warde 2023 www.instagram.com/tamsyn_warde www.tamsynwarde.com
RPS Member Category
Ruth Toda-Nation
Love is a Life Story
Ruth Toda-Nation’s successful submission Love is a Life Story is a series of black and white photographs documenting the friendship between two nonagenarians: John, her father and his friend Mary. This highly personal project intimately chronicles the everyday life and challenges faced as they navigated the various, and often confused, Covid-19 lockdown regulations whilst living in a sheltered retirement community in Newport Pagnell, near Milton Keynes in England.
Ruth explains the intent of her project, which started in the early stages of the Covid pandemic in 2020: ‘At the time, older people were seen as expendable and the UK government’s decision to send the “untested” back to care homes resulted in thousands of excess deaths. This apparent disregard for our eldest citizens prompted me to document what I was witnessing daily, not only as a daughter and carer to my father but also as a photographer. John and Mary’s experience epitomised everything that I felt was unjust about the treatment of our eldest citizens. My father was already suffering isolation and loneliness when Covid restrictions forced him deeper into despair. It was a violation of their human rights, their right to life, to health and to non-discrimination and it called into question Britain’s failing care system. Mary and John had dedicated their lives to helping others, John as a Christian minister and Mary as an NHS nurse.’
Tragically in December 2021, Mary was moved into a full-time care home and passed away alone, unable to have visitors except behind glass. ‘She died believing that she had been locked away and imprisoned’, explains Ruth, ‘so Love is a Life Story is dedicated to Mary and is a testament to the importance of friendship and faith, especially in the face of adversity. I wish Mary was here to see the work and see herself exhibited. She loved being photographed, and through all the difficulties and bleakness we still managed to find joy and fabulousness as we made this work together.’
All images ©Ruth Toda-Nation 2023
www.instagram.com/ruthtodanation X:twitter.com/ruthtodanation
John (92) and Mary (96) neighbours at no 19 and no 20.
RPS Member Category
Brian Morgan FRPS No Safety Net
Yuma and Nicci: Redcar 2019. The Counting House (Box Office). Vulnerability is a feature of every aspect of Circus Life. However, the vulnerability most feared in any travelling circus is its inability -for any reason - to put on a show. Everyone in a travelling circus knows survival depends upon one simple and ruthless mathematical formula: no show = no money, no money = no food, no safety net. Never was a metaphor made more profound than through the vicissitudes of the Pandemic.
A deep personal story also resonates throughout the submission of writer, professional photographer, and doctoral researcher Brian Morgan. No Safety Net is part of a larger body of work that is a pictorial and narrative account of five years Brian spent journeying at various times with a small family-based travelling circus community as it traversed the North of England and Scotland from 2018-2023.
As the title suggests, Brian’s work is a play on words about circus life, but it is also a narrative about his own personal circumstances. ‘The title emerged quickly as a metaphor for the precarious material and emotional existence lived out daily by the circus troupe’, Brian explains. ‘A metaphor, therefore, for the vulnerability of people and strength of purpose needed to survive in a unique and challenging world. A metaphor, too, for my own vulnerability brought on by personal trauma and life-changing illness, and the emotional strength I drew from their presence as I journeyed with them at various times for over five years.’
He was clearly enthralled by the troupe, becoming adopted as he, figuratively speaking, ran away with the circus. He takes up the story of his submission: ‘It begins with a journey after the show has finished, through the hinterland of the real, behind the scenes, world of circus – no safety net, vulnerable, astringently stripped of its make-up, a world I only ever perceived in black and white. How else to reflect a place at once antithetical to the beguiling and spectral world of the “big top”? What better device for exposing the stark binary choices forced upon the group as they edged their way towards safety along a tightrope – stretched out before them by the forces of fate – between survival and oblivion during the worst of the Covid pandemic? I wanted to capture the egalitarian nature of circus: the aesthetic and grotesque, the achingly beautiful, the lonely, claustrophobic, humorous and heartbreakingly sad manifestations of circus life, freed of the influence and hierarchies created by colour.’
The time he spent with the circus, a literal and metaphoric journey, gave him the comforting conditions in which he could address his personal loss and grief. ‘Telling their story through my photography is the only way I know of repaying the debt I owe Olympia (the ring mistress), the Kirilova Family and Big Kid Circus. For they taught me, by their example, the meaning of hope, illuminating with a kindly light the darkest recesses of depression and despair.’
All images ©Brian Morgan 2023
RPS Member Category
Michael Knapstein
Midwest Memoir
Midwest Memoir is part of a larger project started in 2010 which documents classic aspects of rural America with images made in the upper midwest of the United States. Most are taken within 100 miles of the home of semi-professional photographer Michael Knapstein in Middleton, Wisconsin, although he also shot work further afield in Minnesota, Illinois, Iowa, and South Dakota.
‘My goal was to capture some of the things about the American Midwest that I will miss the most once they are gone’, says Michael. ‘Some of these are actual places – the vernacular landscape, whilst others are visuals that trigger a related feeling –a collective memory, if you will. Indeed, several of the buildings I photographed for this series have already been torn down. And other aspects of traditional midwest life continue to disappear around me. I know that such changes are inevitable, but I wanted to do my best to make sure they are captured and remembered. And in some cases the images serve as symbols for the strength and resilience of the American Midwest and its peoples.’
A self-taught photographer of over fifty years, such is the size of his project that Michael has begun to break the work up into smaller sub-groups. One of these sub-groups, called Fabric, was also shortlisted in the DPA 23 competition. And you may well have seen Michael’s work before, as another image, After the Storm was one of two photographs he had in the 163rd International Photography Exhibition, winning the Visitor Favourite Award. His midwest project remains ongoing, so we may well see more of his work in future: ‘I have been aware of the RPS for many years and hold it in very high regard. I am proud to have participated in the RPS International Print Exhibition four times. But this was the first year that I became aware of the Documentary Photography Awards, and I hope to enter again!’
All images ©Michael Knapstein 2023
www.instagram.com/mknapstein www.knapsteinphotography.com
After the Storm -- Pleasant Springs, Wisconsin, USA
