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Most photography today chases sharpness. We wanted to chase feeling.
Modern photography is dominated by high-resolution, heavily edited images that prioritise technical perfection over emotional resonance. Sharpness, saturation, and symmetry are the default language. What was missing was work that slowed down and used imperfection, softness, and natural light as tools rather than problems to fix.
Can a photograph feel less like a capture and more like a painting?
The challenge was not just conceptual, it was entirely practical. This was the first time picking up a camera with real intent. Understanding exposure, aperture, shutter speed, and how they interact, while simultaneously trying to compose a frame with pictorialist sensibility, meant two learning curves running at the same time.
Image by Museum of New Zealand Te Papa Tongarewa






