'I love nature and have always loved animals! Photographing animals in the wild is challenging, but so much fun. I love to photograph all kinds of wildlife and anything in nature in a different way than people usually see. I hope that giving a different view to nature will make people appreciate it a little bit more.'
'I think my most challenging shoot was trying to take photos of the Northern Lights in Iceland. After only getting a couple of hours sleep on my overnight flight to Iceland, I met up with my photography tour group, led by photographer and teacher Tom Bol, and we hit the ground running, shooting at 3 different locations throughout the day.'
'I don’t actually remember a time when I wasn’t immersed in drawing and creating. This natural impulse was present early in my childhood, and although I had no specific artistic mentor in my family, I was very fortunate to have their unconditional encouragement. I was given personal freedom to find and define my inspiration. Now inspiration is provided by connecting with like minded people.'
'I also practice the art of beholding, taking some time before I even pick up the camera to hold a landscape, space or a subject in my gaze. Beholding has a still, slow and spacious quality to it, where vision becomes softer. It releases expectations of what you think you will see and instead you can receive what is actually in front of you.'
'I consider myself a documentary photographer and I'm shooting what I think is important. I think people will interpret an image the way they see life. It's all subjective and it's not really important to label the work. It's important for me to follow my instincts in choosing the subject and the moment to shoot.'
'I enjoy the challenges. I look at every photograph as an obstacle, and I focus as intently as I can on making it as perfect as I can, whether it's photographing an athlete or sticks in water. Every day with the camera is different, so my work is never repetitive.'
'If I have an image in my mind there is most of the time much work to do carrying all the props to the place I have chosen. I love to combine unusual things. Therefore I am always looking to find curious clothes or props.'
'I think a lot about light and composition. I try not to overcomplicate compositions so that it’s more obvious what the image is about. In terms of lighting, it depends on what I am shooting. Some shots require a simple light set up. But then if there are multiple items or an item with different materials then I have to think about the quality and quantity of light which will be needed to best illuminate what I am shooting. I love it because it is creative problem-solving.'
'I love everything about being an artist. I think my favorite part is the solitude, I find peace painting at my easel. I feel so fortunate to be able to do what I love every day of my life, I cannot imagine it any other way. There is absolutely nothing that I dislike about it.'
'My earliest desire to be a photographer was caused by an astonishing scene I witnessed as a child during a visit to my grandparents, in one of the spring holidays. A unique landscape where elements of Winter and Spring seemed to merge and create in my mind a sort of "living" painting, which I couldn’t preserve but rather I kept in my heart and mind. '
'For me, the best thing about still life photos is that you don’t need so many things to create an engaging story! In every single thing, there is a sense of human presence, emotions and stories. There is something invisible but very clear. I can portray emotions and tell stories without even using a human model. That's what makes me so interested in still life. '
'I just follow my instinct and I approach only people who have something interesting, it can be anything ranging from an accessory to a haircut to an outfit to the way they sit down or stand. There’s very little rational thinking behind the choice of the subject and I like it that way. It’s supposed to be fun and improvised. The real challenge is my introverted nature, it’s difficult for me to approach a stranger and I work really hard at forcing myself and do that. I know I’ll never feel comfortable at approaching a stranger, but I definitely think it’s gotten a lot easier since I moved to NYC.'
'Much of my work is spontaneous. When I go out I shoot whatever object catches my eye through its light and shadows, textures and colors. Sometimes an idea comes out of nowhere, and I try to focus long enough to make a whole series based on that idea. It could be a certain color, topic or style or something else that connects the images. '
'When I’m out, I actually work in a very small area, concentrating on the composition and framing of the image I’m making. I try to visualise the finished print and try and get as much right on the camera as possible. I will take a test shot using the metering within the camera, but I use manual settings all the time, so I have complete control, even focussing.'
'Right now the biggest challenge I've set for myself is to capture even more diversity in my portraits. My current limitations are time and an ongoing quest to find more people who will allow me to paint them. I explore a very small percentage of the queer-identified and allied population in my work. Androgyny, body art, gender confirmation surgery and piercings are not uncommon among the people you see in my work.'
'I'm not always consciously aware of decisions I make regarding the use of colour or composition exactly. I used to meditate quite a lot and that coupled with a lifetime of daydreaming has a profound influence on the way I work. I suppose it's a bit like deliberately shutting down the rational side of the brain in favour of intuition and emotion. I often paint with my feelings rather than making analytical choices, those come later on when I decide the time is right to abandon a piece or continue working with it.'
'The paintings, even the smallest ones, take a lot of time and materials to create. In no particular order, I use pencil, colored pencils, charcoal, inks, pastels, acrylic paint, gouache, oil pastels, and permanent markers. Each layer is sealed. I then use a shellac to protect the painting overall and allow the work to be handled. '
'I have been doodling all my life but started getting serious after retiring in 2011 from a long career as a registered nurse. I am basically a self-taught artist, but I have read several reference books on acrylics and watercolor techniques. From 2000-2011 I was the Director of Quality and Risk Management at a small hospital in York, Maine.'
'My work is inspired by the artists I've tried to learn from Classical artists Holbein, Vermeer Bartoli and Velázquez. And contemporary artists Yugoslavian-born Bill Vuksanovitch Australian artist Yong Su and photographer Yousef Karsh whose understanding of the use of shadows is second to none.'
'Amy shoots with a Nikon D7100. Her favorite lens for portraits is a “Nifty Fifty” Nikon 50mm, 1.8. She also uses a Nikon 18-140mm 3.5-5.6 lens depending on where she is shooting. For fast action sports, like rodeos, her lens of choice is the Nikon 70-300mm 4.5-6.3.'
'Gina Collins has experience with various photography genres. Her beautiful work ranges from stunningly colourful landscape images, elegant flower photography, majestic big cats and other wildlife, beautifully composed Still Life photography and much more. She also creates exquisite watercolour artwork too.'