Articles written by Michael Rudzikewycz

Creativity thrives on diversity. As artists, it's natural to seek inspiration within our own medium of photography. However, the true magic often happens when we venture beyond the boundaries of our craft and explore the vast landscape of other artistic realms. Finding inspiration in areas outside of our primary medium not only enriches our work but also expands our perspectives and nurtures our creativity in unexpected ways. For example, photographers may find themselves captivated by the rhythmic brushstrokes of paintings. In this context, the Japanese ink painting known as Sumi-e is a source of inspiration.

Abstract expressionist painter Mark Rothko and photographer and contemporary artist Hiroshi Sugimoto, though working in different mediums, exhibit strikingly similar artistic sensibilities. Both artists engage deeply with abstraction and the exploration of perception, creating works that transcend their physical forms and can evoke profound emotional and philosophical responses from viewers. Rothko is known for his large-scale color field paintings, while Sugimoto creates photographs that appear simple in approach but capture a sense of stillness in our surroundings.

In 1993, Kevin Carter, a South African photojournalist, etched his name in photography history with one poignant image that encapsulated the harsh realities of the world. The iconic photograph, "Vulture and the Little Girl," stirred emotions, sparked debates, and shed light on the famine-stricken Sudan. However, it also plunged Carter into the depths of controversy, with this photograph revealing the complexities and ethical dilemmas surrounding shocking photography.

In the waning days of World War II, the German army unleashed a massive, surprise attack on the Allied forces in the Western Theater with the hope of extending the lifeline of their military forces. This attack created a bulging salient in the Allied lines along the Ardennes Forest in Belgium. This battle, forever known as The Battle of the Bulge, lasted from December 16, 1944, to January 25, 1945, and is considered by historians as one of the largest land battles the United States ever engaged in. In the chaos of all this, US Army Signal Corps photographer, Hugh Francis McHugh, would be there to document the battle. Sadly, it was here on the snow-filled fields, on the last day of the battle, where McHugh would capture his last photograph.

In the world of combat photography, there have been countless individuals who have risked their lives to document the harsh realities unfolding in front of them. Among these brave photographers, one name stands out with a unique legacy – Dickey Chapelle. Born Georgette Louise Meyer on March 14, 1919, in Milwaukee, Wisconsin, and adopting the nickname Dickey from a childhood friend, her remarkable journey not only left behind a trove of iconic images, but also paved the way for generations of photojournalists to follow in her footsteps.

War photography is a genre that transcends mere visual documentation. It is a testament to the human spirit, a mirror to society, and a call for change.

In today's age, billions of photographs are uploaded to the internet. We're accustomed to it. It's the norm. However, like anything on this planet, it started somewhere and some time. Photography was invented in 1822, 39 years before the opening shots of the American Civil War. Digital photography made its appearance 48 years ago. Comparing this, you can say digital photography has been barely a thing even though it's something that's such a staple in today's world. But to those that lived in the mid-19th century, photography was a thing of magic.

In today's world of photography, there's a fierce debate going on whether AI art is in fact, art. On one side there are proponents of AI art that see these programs as another tool that can be used to express one's vision. On the other side are the traditionalists, who staunchly oppose AI art, arguing that it deviates from the essence of art as a medium of objective representation. Only time will tell how this plays out and how these two views learn to coexist.

In the midst of chaos, there exists a small group of brave individuals who risk their lives to document the horrors of war: combat photographers. These individuals point their cameras at the atrocity of war, capturing the brutal reality that unfolds across the landscape of battle. What's created is a visceral reminder of the violence, allowing the public to get just a small glimpse into the nightmares faced by those touched by the fire of combat. The photos we see once the silence has settled offers us a small chance to witness the harrowing experiences they endured, what they needed to do, and what they still carry with them as they try to live their lives in peace.