Photo: ©️ Tariq Zaidi
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To most of the world, North Korea remains a mystery. And much of what we do know about the country is tied up in politics. That is why the few glimpses we get of life in North Korea are so important. They help humanize an often misunderstood culture, even if what we see is tightly regulated.

When photographer Tariq Zaidi took his first trip to North Korea in 2017, he was one of just 5,000 non-Chinese tourists allowed to enter the country that year. Led along a carefully choreographed itinerary in the company of two North Korean handlers, Zaidi was given a carefully curated glimpse of the country. While this didn't allow for spontaneous moments, it certainly gave Zaidi the opportunity to see many different aspects of North Korea.

In his new book, North Korea: The People's Paradise, he's sharing his images with the world and, in doing so, helping us gain rare insight into a world most of us will never see for ourselves. We had the opportunity to speak with Zaidi about his time in North Korea and get his thoughts on his unique experience. Read on for My Modern Met's exclusive interview and keep up with Zaidi's work on Instagram, Facebook, and his website.

Photo: ©️ Tariq Zaidi

What first inspired you to travel to North Korea?

On my first trip in 2017, my original plan was to dive into the vibrant atmosphere of the annual beer festival, an event where foreigners and locals mingle “freely” and capture moments through the lens of a camera without hesitation. But fate had other plans that year—the beer festival was indefinitely postponed, leaving me with a tightly guided tour of the country. While it wasn't what I had initially envisioned, the guided tour offered its own insights and surprises. With each step, I discovered hidden gems and cultural treasures that I might have overlooked in the bustling excitement of the festival. Though I missed the spontaneous interactions of the beer fest, I embraced the structured journey, immersing myself in the rich tapestry of the country's history and traditions.

In my book, I use candid photography to explore the ordinary in this extraordinary state—everyday lives explored through a lens, illuminating the complex dynamics of people navigating their own paths within their country while the country does the same globally.

Inviting readers to delve beyond the headlines, North Korea: The People's Paradise sheds light on people’s experiences and reveals the diverse tapestry of the country’s people and culture, challenging our preconceived notions about North Korea. Throughout this book, photography illustrates the hidden stories and realities that lie within its borders and the curtain of secrecy that dominates the narrative surrounding the country.

Photo: ©️ Tariq Zaidi

What surprised you the most about what you saw in the country?

North Korea reminded me of the DDR (East Germany with the Berlin Wall intact), Cuba, Vietnam, and China about 20 years ago. I’d say it’s a mix between these and some Central Asian countries I have visited in recent years, but more orderly and cleaner. It’s all relative, though—there were considerable differences in the rural versus urban contexts in North Korea in terms of aesthetics, people, and lifestyles.

From your perspective, how isolated is life in North Korea?

The only real links are to Mainland China and Russia. Visiting North Korea is a rare privilege afforded to only a few individuals globally. The country attracts around 5,000 non-Chinese tourists annually; those fortunate enough to visit are met with strict rules and regulations, including the control of photography.

Photo: ©️ Tariq Zaidi

Given the notorious restrictions placed on photographers who visit, were you worried about what you would be able to photograph?

For the past four years, since January 2020, North Korea has been inaccessible to all visitors, including North Koreans residing outside the country. Before this closure, access (for most nationalities) was possible through various agencies in China or Russia, involving a process of applying for permission/visas. During my visits, I was always accompanied by two North Korean minders. This applies whether traveling alone or in a group. They regularly scrutinized my photographs and occasionally requested deletions. The places, routes, and destinations were all predetermined and could not be altered once set.

What was it like to work there?

North Korea had several logistical and physical restrictions, but I never felt unsafe, nor was I met with hostility. I’m pretty used to working in challenging or inflexible environments. Some projects I’ve worked on in the past have had significant safety restrictions because the subject has been dangerous, politically volatile, or violent; others have had transport and mobility limitations where getting around the country and visiting points of interest has been impossible simply because of lack of infrastructure. Rules are there regardless of where I work; it's just the kind of restrictions that differ.

Photo: ©️ Tariq Zaidi

How did people in North Korea react to you photographing them?

Children were generally OK with me taking pictures, and adults allowed me to take photos after a few minutes of politely asking, although it did depend on where we were. In the metro, for instance, when I pointed my camera at people, they all shyly put their heads down to avoid being photographed. I’m unsure if that was due to cultural differences, shyness, or the lack of camera culture.

Like anywhere else in the world, I photographed those willing to be photographed and respected those who were not.

Photo: ©️ Tariq Zaidi

Is there any particular photo you took and were made to delete that you regret having to get rid of?

I had taken many pictures at an amusement park in Pyongyang at night, which were deleted. It was a very surreal environment to photograph, given the political situation in 2017, and I wish I had been allowed to keep those. The guides didn’t mind me taking photos of groups of people going about their daily lives, but individual portraits I had taken were deleted. It’s hard to say what else I could have photographed because of how curated my first trip was—I didn’t have the chance to explore on my own and find stories.

Photo: ©️ Tariq Zaidi

What was the most memorable part of your time in North Korea?

During my photography sessions, the North Korean guides played a crucial role in shaping the subjects I could capture through my camera lens. They primarily guided me on what issues were allowed and what was prohibited. At the end of each day, they evaluated the photos taken and advised which ones should be discarded, emphasizing the importance of retaining high-quality images. Their insistence on achieving “good photos” amused me, prompting me to pledge improvement in my photography.

The guides frequently requested to view my images, leading to the immediate deletion of those they deemed unacceptable, regardless of their relation to the military. In response to my query about why non-military images were discarded, they explained their focus was on capturing exceptional visuals, encouraging a pursuit of photographic excellence.

The NK guides significantly influenced the scope of my photography, prohibiting images related to the military, consistent with global norms. They also discouraged photographing individuals alone but allowed group shots. Photography involved rapid shifts between locations, allowing little time for shooting.

Many images were taken in motion, capturing street scenes from moving vehicles. Conversely, authorized locations like the Science Center and official monuments were photographed with guide accompaniment.

Photo: ©️ Tariq Zaidi

How did the book project come about, and how was the selection process for the images in the book?

As with most of my previous books, such as Sapeurs: Ladies and Gentlemen of the Congo and Sin Salida (No Way Out), my process begins with a developing interest in a subject. This curiosity prompts me to explore it further through research and reading, often followed by multiple trips to the location over several years. After each trip, I present my findings to various editors to identify areas that need further investigation or development.

Once I feel the work is complete, I collaborate with a designer to create a book dummy. This involves selecting and sequencing images, crafting a narrative, and ensuring the format is suitable for a book. The dummy is then presented to potential publishers.

The final stages involve working closely with both the designer and the publisher to finalize the selection and arrangement of images. This process includes numerous iterations and discussions about the final images for the book, the format they will be presented in, and their sequence in the book. For my North Korea book, I collaborated with designer Stuart Smith and publisher Kehrer Verlag, who also published my first book on the Sapeurs: Ladies and Gentlemen of the Congo.

Between photographing, editing, researching, and writing, the entire project took over three years to complete.

Photo: ©️ Tariq Zaidi

What do you hope that people take away from these photos?

Many of my photographic projects deal with underreported communities and places. North Korea has intrigued me for years because of how little we know about it—except from mainstream media. I wanted to use photography to offer a glimpse at everyday lives in North Korea, documenting people, and culture as far as possible, given the limitations and restrictions of photography within North Korea. Beyond the militarism, authoritarianism, and control that have become associated with the country, people are going about their lives. This book seeks to present their realities (culture as far as possible, given the limitations and restrictions of photography within North Korea) to the rest of the world.

Through my practice, I endeavored to document what I witnessed, was shown, heard, and felt to the best of my abilities throughout my time in North Korea. Given the limitations of operating in North Korea, my goal is to provide readers with a comprehensive and immersive experience. Forming one's perspectives now falls upon those who engage with my work.

North Korea: The People's Paradise by Tariq Zaidi is now available for purchase.

Tariq Zaidi: Website | Facebook | Instagram

My Modern Met granted permission to feature photos by Tariq Zaidi.

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October 7 is a date that changed Maisara Baroud‘s life. The Palestinian artist, who is based in Gaza, saw his world turned upside down as Israel’s war on Hamas exploded. In the ensuing months, Baroud has been displaced more than 10 times but has managed to keep his daily drawing habit, using his art to help cope during this time of tragedy.

Baroud's war drawings, which he publishes on Instagram, are all entitled I'm Still Alive. This simple, poignant declaration is a way for Baroud to document the atrocities he sees around him and also to let the world know that he is a survivor.

His drawings show cities destroyed by bombs, people fleeing their homes and living in encampments, survivors carrying the bodies of the deceased, and bodies piled up after extensive bombing. Baroud's personal vision of war is one of a man trying to help his family live another day.

A selection of his drawings is now on display in Venice's Palazzo Mora as part of the Foreigners in their Homeland exhibition of Palestinian artists. Organized by the Palestinian Museum US, the show runs until November 24, 2024.

We had the opportunity to correspond with Baroud, who generously answered our questions about his daily drawings and living in war-torn Gaza. Please read on for My Modern Met's exclusive interview.

When and why did you start your daily sketches?

For several years, I have been keeping a diary by drawing in special sketchbooks. I used to keep the drawings for myself, and the idea of posting them and sharing them didn’t occur to me. But, during the pandemic, as we were forced to stay at home, the internet was our only outlet.

So, I would draw on a daily basis, publish my drawings, and would group my visual journals by name and topic.

How has their meaning changed for you since October 7?

The October 7 War—the occupation—killed all of our dreams and left nothing with its planes and missiles. However, I made sure to maintain my daily drawing habit and publish whenever the opportunity arose.

Communication and contact with friends have been difficult, and on some days, it has been impossible due to the frequent cutting off of the telephone, internet, and electricity. I took it upon myself to tell the story as I saw it with my own eyes, away from propaganda and the official narrative, by recording and documenting a war diary. Through my diaries, I tell stories of distorted cities, killing, destruction, displacement, patience, steadfastness, brokenness, and pain.

Has creating these drawings been therapeutic for you? How so?

Drawing on a daily basis was difficult due to the lack of resources, suitable places, and appropriate circumstances, but that did not prevent me from continuing.

Drawing was my only outlet to help me forget the fear, anxiety, and fatigue that accompanies us every day while carrying out family obligations and the sudden daily attempts to survive death that happen from one moment to the next.

I took the time to draw within a tiny area of my home, which I allocated to myself as a studio every time we were displaced. Drawing during war has become a message of challenge, of breaking the siege and fear and pushing back against barriers and borders.

I know that your studio and home have been destroyed. Can you describe your living situation a bit?

Since October 7, everything has changed. On the second day of the war, planes destroyed my office. On the third day, they destroyed my house and my studio.

Can you imagine becoming homeless in an instant, losing all the things you like in one moment, and having everything destroyed? All the plans you made for your future and the future of your children change in an instant.

Imagine that the sounds of bombs, missiles, and bullets are relentless and surround you everywhere, and you have to try to survive to reach a new day.

Based on the instructions of the Israeli occupying army, I was forced to leave Gaza. At that time, I headed to southern Gaza, which the occupying army claimed was a safe haven for us away from the fighting.

I have been displaced more than 10 times since I left Gaza, and each time, the place has become smaller. We spend hours on the river to get food, drinking water, bathing water, and basic necessities for my family.

Eight difficult months have passed, and we are still experiencing moments of tragedy every hour. Goods and commodities—if there are any—are expensive, there is chaos and a lack of security and safety, the health care system has completely collapsed, and people’s health is deteriorating. Sickness and disease are spreading rampantly, and medicine is not available.

What do you think is the most common misconception people have of what is happening in Gaza right now?

Everyone believes that what is happening in Gaza is a war against an extremist faction, but the truth is otherwise. What is happening in Gaza is part of what is happening in all of Palestine. What is happening in Gaza is a rolling and terrifying war of annihilation. What is happening in Gaza is a decision to kill, exile, and destroy an entire people.‎

What is happening in Gaza is an extension of what has been happening for the 76 years since the Nakba.

What do you hope that the outside world takes away by looking at your art?

I hope that the world sees the truth as it is, not as the occupation promotes it. Perhaps this is what I try to express in my daily drawings as a witness to the massacre. I try to convey the truth and the tragedy that we live and that we are going through.

I portray the everyday scenes that I live, translating them artistically and sharing them with my friends and my followers.

I convey a message through drawing to tell everyone that despite the pain, the killing, and the daily destruction…I am still alive.

Maisara Baroud: Instagram

The interview has been translated from Arabic and edited for clarity.

My Modern Met granted permission to feature photos by Maisara Baroud.

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In late February 2024, history was made when the first female-led space company, 4SPACE, took Jeff Koons‘ art to the Moon. The successful launch makes Koons the first artist to have authorized artwork on the lunar surface and everything came together thanks to the vision of 4SPACE founder Chantelle Baier.

Baier founded 4SPACE as a vehicle to bridge non-traditional space companies with the space industry. Under her leadership, 4SPACE has achieved the first authorized art gallery to be sent to the Moon in 2024, a significant milestone in the footprints on the Moon. And it seems fitting that Koons, a pioneer of the contemporary art world, would be the first creative to hold this honor.

Jeff Koons: Moon Phases comprises 125 unique artworks, each consisting of three components: a sculpture that was installed on the Moon, a sculpture that stays on Earth, and an NFT that corresponds with the sculptures on the Moon and the Earth. The 125 miniature stainless steel Moon Phase sculptures are currently displayed on the Moon in a cube, which was designed and built by 4SPACE in consultation with Koons.

“The Moon Phase artworks are associated with individuals who made important accomplishments in human history,” 4SPACE revealed in a written statement. “The list of names is universal, from various cultures throughout the world, fields, and time periods. Displayed in front of each artwork, the names memorialize the figures. In this way, Koons honors some of the greatest achievements of the past to inspire future generations.”

The work made its way into space via the Intuitive Machines Nova-C lunar lander, Odysseus, named after the hero of Homer's Greek epic. The Nova-C is part of NASA's CLPS (Commercial Lunar Payload Services) initiative and was launched on a SpaceX Falcon 9 rocket from the Kennedy Space Center.

When Odysseus touched down on the lunar surface, it became the first successful U.S. moon landing since Apollo 17 in 1972. And it is the first time that a privately owned spacecraft has successfully landed.

We had a chance to speak with Baier about this momentous occasion and what it means to her, as well as what it took to make this outer space art gallery come to life. Read on for My Modern Met's exclusive interview.

What sparked your initial love of space?

I was born in the land of the living sky in Canada, where there was no light pollution, and I was surrounded by the vastness of trillions of twinkling stars in the sky. We would spend a lot of time stargazing, so naturally I dreamt of going to the Moon since I was a kid. I began to realize NASA has led to wonderful advancements that help us here on Earth, and I began to learn how important space is for our future. The idea of exploration beyond Earth’s gravity and traveling the Moon and Mars ignited my curiosity to learn more about space and the earth.

Photo: David Bellman

What motivated you to start 4SPACE?

I was encouraged by a mentor of mine, Dr. Chris McKay, to set up 4SPACE to hone in on my diverse skillset that ranges from technical knowledge to the entertainment/fashion industry. 4SPACE was set up as a vehicle to bring non-traditional space companies into the space industry. With this non-linear way of thinking, our focus is on commercializing the space industry by incorporating branding, marketing, and outside-of-the-box ways of approaching traditional industries.

What accomplishment are you most proud of since 4SPACE was founded?

We just became the first woman-owned company on the Moon. We also became the first company to place a clear art gallery with Jeff Koons Moon Phases statues on the Moon on board the Intuitive Machines Lunar Lander that successfully landed on February 22, 2024.

Photo: Chris Farina

How did you become involved in the Jeff Koons project?

In 2021, I contacted a small company that had just won an award from NASA to go to the Moon. Their mission had scientific NASA payloads, and I had an idea for a project to be placed on the Moon. The lunar lander didn’t have enough power for our payload, so I had to redesign a powerless payload. My investor had a great relationship with Jeff Koons' son Sean, and we commissioned him to design 125 statues.

What type of research went into creating the display for his art?

Extensive work in many different areas spanning material research, adhesives that would survive the trip to the Moon, space radiation, lunar environment, and analysis.

What type of work went into getting permission to leave something like this on the Moon?

Currently, there aren’t any permissions per se. It is our ethos to think of sustainability, scientific relevance, marketing, commercializing, and the return on investment in a circular way of thinking in every project. We understand the rare opportunity we have, we know these projects will be placed on the Moon and remain there forever, so we want them to have scientific relevance, paired with new ways of marketing, branding, and connecting our everyday lives to the Moon. Our approach is to ensure multiple facets of success in each project that positively support the space industry, NASA objectives, and what’s relevant to our partners whether it be artists, brands, you name it.

How does it feel to have 4SPACE involved in such a groundbreaking project?

Out of this world. It’s truly an honor to be a part of this historic mission to the Moon and to have had such a cultural impact and footprint.

What do you hope that people take away from this work?

I hope to inspire a new way of thinking. I hope to show the world that you can dream and achieve your goals no matter what challenges you face. I came from very modest roots, and I believe we need to support each other and work together to create a better world here on Earth. Utilizing the new opportunities that the Space Industry has to offer, everyone brings hope to us here on Earth. New ways of exploring that open up new jobs and hopefully a bright future.

If I can take a world famous artist and put his work on the Moon… please take my word, there is a new industry coming and it’s the space industry.

4SPACE: Website

My Modern Met granted permission to feature photos by 4SPACE.

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It's been seven years since anyone living in the United States had the opportunity to experience a total solar eclipse. But now, in less than two months, the big event is set to occur. On April 8, the Great North American Solar Eclipse will be viewable from most of the United States, as well as Canada and Mexico.

Viewing a total solar eclipse is a once-in-a-lifetime event, but it also comes with safety considerations. It's critical that people do not look directly at the Sun, so wearing solar eclipse glasses is a must.  Luckily, the non-profit Prevent Blindness has created ISO certified solar eclipse glasses that will allow anyone to watch the big event without worry.

As the Great North American Solar Eclipse will most certainly be a highly photographed event, the organization also worked with acclaimed photographer Jon Carmichael to put together a video about how to safely photograph it. Carmichael took an epic image of the 2017 total solar eclipse from inside an airplane. This image has been called “history's most amazing photo,” and is available as a print on Carmichael's website.

We got the chance to chat with Carmichael in the lead-up to the big event and get his advice on how to photograph the total solar eclipse safely. Read on for My Modern Met's exclusive interview and stay tuned for more news from the Great North American Solar Eclipse, as after the big day, there are sure to be some spectacular images to view.

What are must-have pieces of equipment for photographing the eclipse? Is it possible to do it on a budget?

This really depends on what you hope to achieve in capturing the eclipse and your budget. However, you can get great shots with any budget! If you’re more of a professional or hobbyist with a DSLR or mirrorless camera, you may want a telephoto lens (200-400mm) to get closer detail of the eclipse or a wider lens if you want to capture the scenery around you.

Also, be sure to have a sturdy tripod, a shutter remote to prevent camera shake, solar filters to protect your eyes, and a camera sensor. It's entirely possible to photograph the eclipse on a budget, especially with how far phone cameras have come. You can also use solar eclipse glasses to cover your lens instead of specialized filters, although quality may vary.

If anyone is interested in more tips and tricks, I partnered and shot a fun video with a great non-profit, Prevent Blindness, that gives much more in-depth recommendations.

Are there any online tools or apps that would be helpful for people to know about?

More advanced apps such as Stellarium and PhotoPills can be invaluable for planning your eclipse shoot. They provide precise information on the eclipse's path, timing, and position in the sky, allowing you to scout locations and anticipate composition opportunities. If you’re shooting with your phone, a good app is Solar Snap (iOS and Android), which works well with a solar filter over your phone lens.

What type of advance planning should people do?

Advance planning is crucial for a successful eclipse shoot. First, you want to think about what kind of photograph you’re hoping to achieve. Research the eclipse's path and duration, scout potential shooting locations (i.e., do you want to be on a mountaintop? Or by the ocean?), and be sure to consider factors like weather conditions and accessibility.

You should also have a backup plan if the weather is cloudy or rainy in your planned area. Practice photographing the Sun beforehand to familiarize yourself with your equipment and settings. Remember, totality only lasts a few minutes if you’re lucky, and you don’t want to be fiddling and trying to figure out your settings and miss one of the most beautiful moments nature has to offer us.

What should people expect on the day of?

On the day of the eclipse, expect a surge of excitement and anticipation. This likely means a lot of traffic anywhere inside the Moon’s shadow, especially if it’s a well-known location. Be sure to arrive at your chosen location early to set up your gear and secure a prime shooting spot.

What makes photographing the eclipse so special?

Photographing the eclipse is special because it's such a beautiful yet fleeting moment. In my opinion, it’s the most beautiful moment you’ll ever see. It’s also incredibly rare—this will be the last total solar eclipse in the U.S. until 2045. Solar eclipses captivate and unite people around the world and offer a unique opportunity to witness the alignment of the Sun, Moon, and Earth in perfect harmony.

But with all that said, be sure not to just focus on getting the best photographs. Make sure you take time to actually pause and enjoy the moment away from your camera. I recommend trying to get the camera set up to shoot automatically as best as you can so that you can be present and take in those short few minutes with the community around you.

What's the biggest safety precaution people should take?

The most critical safety precaution when photographing the eclipse is to never look directly at the Sun without proper eye protection, and especially not through the viewfinder of your camera. Be sure to use solar eclipse glasses at all times before and after totality, but beware, not all the eclipse glasses out there are certified! I highly recommend getting your glasses from Prevent Blindness because you can be confident those will keep your eyes safe. Also be sure to protect your camera sensor, just like you would your eyes, with a solar filter. If you have to resort to ND filters, be sure it’s at least 16 stops darker.

Jon Carmichael: Website | Facebook | Instagram

All images by Jon Carmichael. My Modern Met granted permission to feature photos by Prevent Blindness.

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Renowned South African wildlife photographer Chris Fallows is known for his artistic images that capture the spirit of the animal kingdom. And in 2024, he'll be celebrating two of its most majestic animals—the elephant and the whale. Over the course of 100 days, he'll be sharing one inspiring photo daily that highlights the power, beauty, and spirit of these giant animals.

Starting on January 1, Fallows will publish one new image of either a whale or an elephant on his Instagram account in a project called 100 Days of Sentience. Each photo will be accompanied by a caption that explains a bit more about the photo and what Fallows was experiencing when he took it. He hopes that viewers will understand the connections these gentle giants can build and, perhaps, evaluate how they can be helped through conservation and protection.

We had the pleasure of speaking with Fallows about the project, as he generously provided My Modern Met with a preview of the images people can expect throughout the project. Read on for our exclusive interview, and then go over and follow him on Instagram to be part of 100 Days of Sentience starting on January 1.

How did the idea for 100 Days of Sentience come about?

When I am immersed in nature, be it with my wife Monique on our boat bobbing the ocean or on foot in the bush, I find incredible peace and grounding. Yet it seems all around us, there is turmoil, various tragic wars, and an ever-increasing pace of life dominated by the desire to have more while not considering the consequences of our actions.

I believe many have lost the ability to live in the moment. This feeling of being present is none more evident than when I am with the two largest creatures of ocean and earth, the whales and elephants.

While I am so lucky to have spent thousands of days in their respective companies, others don’t have this opportunity. As such, I wished to showcase some of my works with these sentient giants for people to look at and hopefully transport themselves to the moment I took the photograph.

I want people to immerse themselves, to hear the whales' exhalation, to see water cascading off the huge fluke, and feel the touch of the whales' breath on their skin. Likewise with the elephants, to gaze up at these giants, to imagine their quiet padded foot stroke, the loving embrace of a mother's trunk around her kin, and feel the gentle rumblings of their communication with each other.

It is perhaps ironic that of all the animals I have been so lucky to work with over the past three decades, it is in the company of the two largest that I feel most at peace. This is my simple attempt over the course of 100 days to allow others to feel this sense of sentience through my lens.

What was your selection process for the images?

While I have chosen works that I believe artistically do justice to the magnificence of both whales and elephants, my primary criteria was to select a collection of my fine art photographs that had a strong sense of allowing the viewer to be there in the moment with me.

As such, I wanted each photograph to be a reflection of the emotion and mood, a wash of calmness, a stroke of humility, and a call for everyone to simply find their space in nature.

What are the main characteristics that strike you when you've observed elephants and whales?

An awareness, caring, and a gentleness that certainly aren’t signs of weakness. These are our planet's giants, capable of incredible acts of strength, yet they tolerate me in their space despite all of what my kind has done to them.

How do you hope that your artistry can have an impact on these animals and our environment?

I hope that when viewers of my work look at these giants they are not only awed by their presence but also by their ability to be present.

As a direct personal impact to how my artworks help, all the sales of my Limited Edition Artworks go towards buying land in Southern Africa for the protection and rehabilitation of habitats, as well as supporting selected non-profits doing incredible work to protect our planet.

I'm sure there are a lot of incredible backstories behind these images. Is there one, in particular, that you'd like to share?

There are many indeed, and throughout my 100-day-long daily Instagram posts, I will share many, but my one work called Matriarch, taken in 2019 in Kenya, has a powerful story.

This photograph is of one of the few truly huge female tuskers left on our planet. Her tusks have been her burden, for she is the most sought-after target for the poacher or trophy hunter's gun as a result of them.

I would often try to find her in the huge expanse of one of Kenya's national parks as her ivory was so spectacular and obviously made for impactful imagery, but what I learned with each new encounter was that her ivory was just a small part of what made her truly special.

She was the matriarch of her herd, a herd that’s destiny was shaped by her decisions. Each time she encountered me over the course of several years, she would leave her herd, walk over to where I often lay on the ground photographing her, and reach her trunk out to smell me while maintaining an upright and dominant posture.

In effect, each time she was setting her boundaries, saying I know you are there, I accept you, but this is my boundary, and don’t cross it because that will threaten my family. I am humbled by this huge, completely wild elephant's acceptance and tolerance of me. However, I am inspired by her courage, strength, and leadership.

What do you hope that people take away from the work?

I cannot and refuse to believe that had others been exposed to these animals as I have, that they could ever have raised a weapon to kill one. I also believe that once people are exposed to these iconic animals, they will dig deeper and learn more about them, understanding the key roles each plays within its respective ecosystem and the contribution they make to a healthy planet.

If an observer of my work can reflect on the virtues of the great whales and elephants and then look at our own, I believe that hopefully, in some way, my work can help bridge the divide between sharing or conquering our planet.

What are your plans for 2024?

In January 2024, we unveil a 25-meter-long display of my photographic artwork at Dubai International Airport called The 11th Hour that draws attention to many of our planet's most iconic natural inhabitants that we have lost or are losing. Equally, the exhibition celebrates a few of the icons we have saved through brave and timeous intervention, and hopefully, this inspires more action.

For much of the rest of the year, we will be in remote wildernesses chasing sunrises and horizons, trying to capture spectacular photographs of our planet's natural icons.

Chris Fallows: Website | Instagram | Facebook

My Modern Met granted permission to feature photos by Chris Fallows. 

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Brazilian artist Matheus Macedo is known for his incredibly realistic portraits. Using pencils and charcoal, he's able to infuse his drawing with an uncanny sense of realism. Macedo often focuses on famous faces, and he has a knack for incorporating rich detail in their facial features without losing the vitality that makes their personalities leap from the page.

Luckily, Macedo is just as passionate about sharing his knowledge as he is about focusing on his own art. In his online course, Realistic Portrait Drawing Made Easy, Macedo takes students through his entire creative process, step by step. This means that he not only breaks down the tools necessary to create these portraits, but he also shares tips on how to select the proper photograph for inspiration and how to transfer that image to the page.

Over the course of two hours, Macedo allows us to follow along as he works on the creation of a portrait of actor Joaquin Phoenix. That means students will learn in detail how to create every lifelike feature, from eyes to ears. Macedo will also focus on creating different textures, with emphasis on hair and skin.

While Macedo's course won't be released to the public until December 20, students currently have an opportunity to enroll early and save. During the pre-sale period, you can save 10% off the normal retail price of $45.95 by using code realism10 at checkout, and, once the course is released, you will find all 12 lessons ready and waiting for you to watch at your leisure.

In anticipation of the course release, we had a chance to catch up with Macedo and discuss his love of drawing. Read on for our exclusive interview and get inspired by his incredible work.

When did you start drawing?

I started drawing as a child, as most people do. My first drawings were probably done at school at the age of 3 or 4.

What attracted you specifically to realistic portraits?

I've tried different styles through the years, but I believe there are many factors that made me stick to realism: having a clear goal whenever starting a new piece, the fact I lose track of time whenever I dive into the details, the challenge and the feeling of accomplishment when finishing a work that takes long certainly come into play. And the human face just fascinates me, as it communicates so much without words.

Are there any other realistic portrait artists whom you admire or who influence you?

Definitely! The list is long, but my compatriot Charles Laveso introduced me to realism and is my biggest influence. Jono Dry, Emanuele Dascanio, and Kelvin Okafor are the first names that come to my mind when I think of people who I admire from other countries.

What was your biggest challenge starting out with this drawing style?

Getting used to new art tools and learning not to rush were the two main challenges at the beginning.

What's the most satisfying part of the drawing process for you?

When the drawing starts to take shape, especially the eyes, and I realize I am headed in the right direction.

What do you enjoy most about teaching others how to draw?

The best thing is seeing people improve and become proud of what they do. It's very rewarding as a teacher.

What do you hope that people take away from your new class with My Modern Met Academy?

Besides the techniques, I hope our students will understand that making a realistic portrait needs patience and dedication, but is less complicated than it seems. Splitting the process into smaller chunks makes everything much easier.

Watch this preview of Macedo's course and enroll before December 20, 2023 to get 10% off the regular price.

Matheus Macedo: Instagram

My Modern Met granted permission to feature photos by Matheus Macedo.

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Serafina and Keanan on a Bed

For the third chapter of Nick Brandt‘s long-term project addressing climate change, the photographer traveled to the South Pacific to address the urgent issues surrounding rising sea levels. The result is SINK / RISE, an evocative set of underwater photographs featuring the young Fijians who will be most impacted by these rising waters.

While the Pacific Islands produce a minuscule amount of greenhouse gases, they are directly in the line of fire when considering the upcoming challenges that climate change is bringing. Brandt was sensitive to this situation and wanted to spotlight the vulnerability of the Pacific Islands when he conceived the project. And when selecting the models for the shoot, he ended up focusing on the next generation, who may see their homes disappear during the course of their lifetime.

After putting out a call to locals, Brandt selected about a dozen people to participate in the shoot. While feeling comfortable in the water comes naturally to most islanders, they still needed to remain relaxed and at ease during the underwater photo session. Assisted by a large crew and a local divemaster, the images were taken over the course of a six-week period that also included extensive training for all involved.

Taken at anywhere from 7 feet to 13 feet below the water's surface, Brandt's photographs are a reminder of what we risk losing. For Fijians, the possibility of losing their homes and their cultural heritage is very real.

We had the opportunity to speak with Brandt about SINK / RISE, including the challenges he faced on set and why he dedicates his artistry to projects about climate change. Read on for My Modern Met's exclusive interview.

Ben and his father Viti

What inspired this project, and how did you come up with the concept?

I don’t believe that I can make a global series about climate change without at least one of the chapters relating to sea level rise. So I came up with this concept last year, which I felt was a visually symbolic approach to addressing the impact of sea level rise on the hundreds of millions of people around the planet.

Akessa and Maria, Behind the Scenes

Akessa and Maria on a Sofa

Why did you decide to enter it around the Pacific Islands?

Many islands of the South Pacific are especially vulnerable to sea level rise. Many are barely a few meters above sea level, and so, in time, will disappear entirely. Their economies are also significantly based on the ocean that surrounds them. This is why I ended up choosing to photograph in this region of the world for SINK / RISE.

However, unlike in the first two chapters of The Day May Break, the people in these photos—all of whom live close to the ocean in Savusavu, on the island of Vanua Levu in Fiji—are representatives of those who, in coming decades, will lose their homes, land, and livelihoods to the rising oceans. In fact, some of the people in these photos live close enough to the ocean that they would lose their homes. Serafina and Keanan, for example, currently live just a few meters from the shoreline, and, considering how young they are, if they stay where they are, will be among those affected.

Serafina Holding Her Brother Keanan I

Joel and Sosi

What was the most challenging aspect of this shoot?

It’s always the elements. Conditions outside my control. On every previous shoot, it’s the weather that causes the biggest problems. This time, it was week after week of terrible visibility. I chose to shoot in April and May: in theory, after the rainy season, but before the water got too cold in the Southern Hemisphere winter.

In theory, the amount of plankton in the water was meant to be reducing in intensity, creating clearer water. But in reality, the opposite happened. As the shoot progressed toward May, the visibility actually got worse and worse. There was one period in May where the visibility was so bad that we were unable to shoot for nine long, expensive days. An unseasonably massive torrential storm generated a huge amount of muddy freshwater runoff from the island’s rivers. The ocean water just got greener and greener until it looked like we were swimming in a fetid, stagnant pond in the middle of a jungle. Totally unshootable.

Mika, Behind the Scenes

Mika

Why did you feel that it was important for you, as an artist, to lend your creativity to a project about climate change?

Well, this is an ongoing long-term project about climate change (and environmental degradation and destruction due to humankind), and this is the third “chapter” of the series (I am shortly embarking on the fourth).

For me, climate change is the single most important issue to ever face humankind. That’s why it’s important to me, and, quite frankly, I wish that it was to far more people also. Otherwise, we are sleepwalking our way to oblivion.

Petero by a Cliff

All of the models had to undergo intense scuba training. Can you share a bit about their personalities and how they reacted to the project?

A few of the cast were divemasters on the crew, so they needed no training. For the rest of the cast, it wasn’t intense training. They just needed to go through a basic course to get comfortable and familiar with the use of a regulator. All of them were already free drivers because they’ve grown up by the ocean, so it wasn’t a challenge for the young ones.

What are you most proud of when it comes to the images?

The cast—that the dozen or so Fijians that I worked with out of the probably 200 we auditioned were so relaxed and expressive while being photographed underwater.

Serafina at a table

Serafina, Behind the Scenes

What do you hope that people take away from the work?

An indirect hope: that ultimately, everyone needs to become a good ancestor, to understand that we need to adopt a way of life that reduces the environmental impact that our actions will have on those billions of unborn yet to come. Can we show that we care about the humans and animals and trees that we will never live to see?

Nick Brandt: Website | Facebook | Instagram

My Modern Met granted permission to feature photos by Nick Brandt.

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Set against the backdrop of a dusted pink sky, the icebergs almost glowed with an eerie luminescence. Glacial structures like these form and break away from Antarctica's sprawling ice shelf, drifting out from their fortresses into the water like sentinels scouting the open ocean. In the pastel shimmer of dusk, the world seemed perfectly still. But I knew deep beneath these icy giants was a symphony of frozen crystals forming and shattering; the silent call of the polar South.

Conservation photographer Cristina Mittermeier has dedicated her career to the protection of the natural world. Specifically, she is passionate about the state of our world's oceans, and through SeaLegacy, a non-profit she founded with her partner Paul Nicklen, she helps shine a spotlight on environmental issues through visual storytelling.

In a recent Facebook Story, Mittermeier called on world leaders to step up to the plight that Antarctica is facing. This fragile ecosystem is at a critical point due to numerous factors that include climate change, overfishing, and deep-sea mining.  Tackling the issue head-on, Mittermeier uses her creative skills as a photographer to remind the public of what is at stake.

We had a chance to speak with Mittermeier on the heels of the annual CCAMLR (Convention on the Conservation of Antarctic Marine Living Resources) to discuss the victories and challenges that the area faces. Read on for My Modern Met's exclusive interview and prepare to get inspired to effect change.

The evening sun catches the misty haze lingering over the glassy, icy waters of the Antarctic Peninsula. A humpback whale graces us ever so briefly with her presence before diving deep back under the dark sea.

What have been the biggest successes and challenges for ocean conservation in 2023?

There have been a number of wins so far this year, including the fact that many countries, including Canada and the UK, have placed a moratorium on Deep Sea Mining. Just like the wholesale liquidation of natural resources of land has had devastating effects on biodiversity and climate, the pursuit of mining assets at the bottom of the sea is a shortsighted, colonial proposal that will result in the further devastation of our oceans and our planet.

Knowing that countries are taking a serious look at understanding the ecology of the deep sea before any consideration is given to a mining proposal is a great step in the right direction.

Crabeater seal

We see a lot of imagery about Antarctica and the melting glaciers, rising water tables, etcetera. What are the biggest changes you've seen there in your latest trip?

The changes that are easy to see are the dislodging of enormous blocks of ice from the continental shelf. These icebergs will eventually melt completely and add a large amount of freshwater to the ocean ecosystem, which will contribute to changing currents and rising sea levels. In addition, the weather patterns have changed from ice and snow to rain, which makes the survival of young animals, like baby penguins, much harder.

The international body in charge of creating additional protections for the Southern Ocean, known as CCAMLR (Convention on the Conservation of Antarctic Marine Living Resources), has met several years in a row, and they have failed to develop an agreement to protect this fragile ecosystem, which is a real tragedy.

Nature is the greatest architect. This is just one the many examples of the stunning configurations of ice and water to be found across the southern continents' oceans. As the ocean heats up we risk losing these beautiful and critical creations of nature.

It's still sometimes difficult for individuals to see how they can effect change to reverse the climate trend. What do you recommend to those people who feel like they can't make a difference on their own?

Nobody is making a difference on their own. It is important to understand that for every naysayer, there are 1,000 people making strides to have a positive impact. From reducing the amount of meat we consume to traveling less to becoming less materialistic, shifting to greener energy, and being more invested in reducing waste, the collective effect is massive. We all need to do more, and we all need to donate more to environmental efforts. Environment and climate remain the most underfunded causes in the United States.

A Snow Petrel (Pagodroma nivea)glides through the snowy skies of the Drygalski Fjord in Antarctica. These graceful birds rely on the sea ice for hunting and rest while on the open sea.

CCAMLR 2023 just wrapped up. What are your biggest takeaways from what happened there?

I am baffled that a country like Russia, which is in the middle of an illegal war, would be allowed to have a voice in the decision to not protect the Southern Ocean. Still, in the end, conservation happens by consensus, and even though every other member country of CCAMLR elected to enact protections, the single voice of a rogue Russia negated the effort. Tragic, really.

What's on your list creatively and as an activist for the new year?

I am working on my first Masters of Photography course, and I have been busy creating new work and editing old work for both that course and my upcoming exhibition at Galleria D'Italia.

Cristina Mittermeier: Website | Instagram | Facebook | Twitter

My Modern Met granted permission to feature photos by Cristina Mittermeier.

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Murray River (Australia)
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Graphics editor Daniel Coe has always been captivated by maps, and his love of cartography has only grown over the years. For the past several years, he has been creatively using this passion to make stunning artwork focused on the world's rivers. Coe takes advantage of open-source lidar data to put together evocative maps that tell the history of these rivers and deltas.

His artistic images are both aesthetically pleasing and vitally important to understanding the imprint of these waterways. Lidar data not only shows the current path of the rivers but also allows users to see their former paths. Each image that Coe creates is a visual timeline of each river's history.

Coe is enthusiastic about sharing his work with the public. He makes all of his river images available for high-resolution download; and through Society6, it's possible to purchase art prints, mugs, pillows, and much more with these images. His website also has helpful tutorials for anyone who is interested in learning how to work with lidar data.

We had the pleasure of speaking with Coe about the origins of his passion for cartography and his creative process. Read on for My Modern Met's exclusive interview.

Yellowstone River (USA)

Where does your love of cartography stem from?

My love for cartography began at an early age. My parents had a long-running subscription to National Geographic Magazine, and I remember pouring over many of the remarkable Nat Geo maps as I was growing up. I also would plan long-distance bicycle trips as a teenager with local county atlases that my family had.

I studied both visual art and geography in college and found my way naturally to cartography, which is at the crossroads of those interests.

Lena River Delta (Russia)

What inspired you to create this series?

I had created an interesting lidar image of the Willamette River in Oregon many years back, and I wondered if I could make equally striking images of other rivers around the world. I had been wanting to learn QGIS, an open-source Geographic Information Systems software, and I realized around that time that many countries and states were publishing tons of new open lidar data. This treasure trove of new data ended up providing a great medium to experiment with interesting river visuals and to satisfy a curiosity about the natural world (as well as to learn QGIS). Since then, it has turned into a bit of an obsession.

Mississippi Delta (USA)

Can you explain what Lidar data is and why it makes the perfect source for these images?

Lidar stands for light detection and ranging or light radar, depending on who you ask. Airborne lidar is collected from a sensor in a plane that rapidly emits light pulses at the ground, which then are reflected back to the sensor. This information is converted into billions of data points that produce an accurate model of the earth’s surface called a point cloud. These point clouds can then be used to create continuous three-dimensional surfaces, also known as digital elevation models. For many applications, including river visualization, trees and structures can be digitally removed to create what is known as a bare-earth surface, or digital terrain model. This type of model is very useful for showing the “fingerprints” that rivers have left upon the landscape over hundreds and sometimes thousands of years.

Cooper Creek (Australia)

How long does it take you to create an image, and do you go into the process with an idea in mind already?

The images themselves take varying amounts of time to produce, depending on many factors, including processing and editing time. Once I have identified and downloaded the data, I generally have a rough idea about the type of image that I want to create, but that often changes throughout the process, as I experiment a lot with color.

I spend a significant amount of time exploring the world virtually and looking at river data on lidar portals in different locations.

North Fork Shenandoah River (USA)

What's the most satisfying part of creating these images? The most challenging part?

Being able to visualize rivers in ways that they have never been seen before is incredibly satisfying. These images almost serve as an x-ray of sorts, in the way that they reveal the hidden pathways where rivers have flowed over time. One challenging aspect of making these images is that many of the world’s rivers have been engineered to the point of being unrecognizable as dynamic, living entities. Many of these places can be difficult to work with visually since their past channels have been obscured permanently by reservoirs or other obstructions.

Brazos River (USA)

Why was it important for you to share the 4K versions of these with the public?

I love sharing these with the world! Making these images has provided me with a great creative outlet and the opportunity to learn about so many interesting places around the world. Sharing them just seemed like the next logical step—no reason to keep them to myself.

Colorado River Delta (Mexico)

What do you hope that people take away from the images?

I hope that people can take away a sense of curiosity about the world around them. Ideally, that curiosity will turn into a desire to care for their local environment (and rivers).

The sense of geologic time that some of these images convey also has a way of humbling us as human beings and putting our relatively short lives in perspective—which is a good thing.

Daniel Coe: Website | Flickr | Society6

My Modern Met granted permission to feature photos by Daniel Coe.

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Moved by a desire to be among people who live their lives in close contact with nature, photographer Drew Doggett traveled to South Sudan. He made the voyage specifically to photograph the Mundari people, a small tribe whose culture is centered around their livestock. During his time in the country, he camped with the Mundari and was able to document their traditions.

With a background in the fashion industry, Doggett brings a unique sensibility to this type of photography. The resulting series, Spirit of the Earth, is a powerful look at the Mundari that documents the scene while also elevating it to fine art. In many images, we see the dust kicked up by the cattle form a misty haze, creating an air of mystery. Doggett invites us, as viewers, to observe the scenes and find the small details that give clues to the lives of these people.

At the same time, he also presents powerful portraits where humans and animals are on a level playing field. This mirrors the way that the Mundari themselves feel about their livestock, which is used as currency and as a symbol of status.

We had a chance to speak with Doggett about the series and what drew him to the story of the Mundari. We also chatted about what type of planning goes into traveling to South Sudan and the photographer's sense of responsibility when shooting this type of cultural imagery. Read on for My Modern Met's exclusive interview.

How did the Mundari tribe first land on your radar, and what was it that attracted you to their story?

I’ve always been fascinated by cultures, especially those that are in touch with the natural world around them. Like so many others who have found inspiration in the Indigenous communities of Africa, Sebastião Salgado’s work in the region furthered my interest in the communities of Sudan. I vividly remember seeing images of the pastoral, nomadic people in Sudan (now South Sudan) in their cattle camps with their prized longhorn cattle, covered in ash and confidently gazing back at the camera. At the time—around 2006—I was working in fashion, but these images stayed with me, and when I began my independent practice as an artist, I revisited traveling there every year.

These cattle camps were etched in my mind; the drama and scale captivated me, and I loved the bond the people shared with their animals. Not to mention their cattle are a unique breed, the Ankole-Watusi, who have these incredible, sculptural horns that lend them majesty.

It was dangerous to travel to South Sudan for a long time, but I began to keep my eye on opportunities and bookmarked a number of cultures that I would love to spend time among. The Mundari tribe was one of them, as they are a peaceful people whose lives revolve around the welfare of their cattle and keeping the rhythms of their existence in line with those of Mother Earth. To me, this made the Mundari’s world a visual story worth telling.

What sort of research and planning went into executing this story?

I had been planning the execution of this story for years, reading about the pastoral communities in this area and, in my mind, crafting the images I wanted to take. A large part of this process was also exploring the options of how I could reach these communities. Regardless, my primary focus is always figuring out how and why my images will do justice to the story, as I find cultural portraits like these to come with an immense responsibility to the subject.

How much time did you spend with the Mundari, and how were you able to connect with them?

Due to the fraught nature of this region, your time in South Sudan as a visitor—especially somewhere remote like where the Mundari were along the Nile—is limited. For this series, I relied on the expertise of another photographer, Trevor Cole, who has been to this region many times. Beyond his experience, hiring a local guide who can help you connect and communicate with people is key. I also always aim to find a guide who knows the culture well.

To create this series, I spent several days camping alongside the Mundari, waking up before dawn to wander the camps with them. The mornings are so calm and peaceful, and man and animal could often be found warming themselves around the same campfire. The Mundari are very proud of their cattle, and many of them had a favorite cow they wanted to share with me.

What was the most challenging part of shooting the series?

The most challenging part of shooting a series like this is, without a doubt, how overwhelming it can be to the senses and how hard of a challenge it is to capture everything you want viewers to digest. The scale of this camp is almost impossible to imagine, so figuring out how to photographically compose the scene is quite the task. My days soon became about whether I wanted to create an image that draws the viewer into a single subject within the frame, or if I wanted people to scan the scene before them to unearth interesting elements. Among this chaos, I still wanted to maintain a level of uniformity so observers could lose themselves in the scene as they scan the image, and to keep a certain level of artfulness in the final works.

Another challenging element was the window of time I had to create the work. The sun is extremely harsh, and it rises and sets quickly. So, the dramatic scenes I wanted to capture, created by light streaming through the smoke, are visible only for a very short time before the setting or rising sun renders everything too harsh or it’s just too dark.

What do you think that people would be most surprised to learn about the Mundari?

The most surprising part of life in the Mundari cattle camps is how everything moves like clockwork, and twice a day, these camps would go from organized chaos ablaze with life to total ghost towns. It was simply incredible. Each morning the camps would empty out as the cattle set out to graze or drink nearby, but by evening, it was a whole different story. Thousands of cattle descended on the camp, and the air would swell with dust, and music played on horns with the cattle returning to their owners by way of the songs they recognized. The men would stay up, often quite late, playing music and socializing, and by morning the camps would be exceptionally quiet once again.

What are you hoping to transmit to the public with this work?

The dramatic scenes of humanity I found among the Mundari were unlike anything I had ever experienced. Their ability to live within the Earth’s cadence was a reminder of how much we can all gain from listening to our planet’s rhythms and working together. Through these images, I wanted to share the incredible scenes of life in their camps with man and animal peacefully coexisting. These people have so much respect for their cattle, and their sense of community and pride in their way of life is something I wanted to convey through my images.

As I mentioned, there’s a lot of responsibility in photographing a subject like this. My goal for these images was for viewers to walk away with a profound appreciation for a way of life that is, most likely, completely foreign to their own. For me, taking photographs like this is a way of preserving our world on camera and revealing shared humanity, especially as, for better or for worse, people get pulled away from these traditional ways of life. I also want people to engage with my images in an exploratory way. My hope is that each time you look at one of these works, you find something new and exciting to marvel at.

Another aspect of the responsibility of taking cultural portraits is that there is always a risk that, once again, it may be hard to travel there. In fact, a few weeks after I returned, the neighboring country of Sudan erupted in fighting, which may impact visitors to South Sudan. I feel pretty lucky about the timing of my trip there.

Drew Doggett: Website | Facebook | Instagram

My Modern Met granted permission to feature photos by Drew Doggett.

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READ: Photographer Travels to South Sudan To Live Among the Mundari Tribe [Interview]