Why I Photograph – and Why I Share My Images

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Photography has accompanied me since childhood. It has never been just a hobby, but always a way of understanding the world. Today, at 64, that has not changed—quite the opposite: the camera has become a tool through which I not only see, but also comprehend, remember, and question.

The images created for this blog and presented here are therefore not random snapshots. They are the result of an ongoing inner dialogue between perception and expression. Each subject carries a trace of what moved me in the moment I pressed the shutter—be it light, structure, mood, or an almost intangible thought.

My work moves between two poles: the artistic and the documentary. On the one hand, I seek to interpret what is visible, to abstract it, and to translate it into my own visual language. This approach connects my photography with my painting. In both forms of expression, I am concerned with reduction, with what lies beneath the surface, with the interplay of form, color, and space.

On the other hand, every image is also a document. It captures a moment that will never return. Even the most abstract images have their origin in reality—they are traces of something that once existed. In this sense, my photography is also a quiet archive of my life and my perception of the world.

The name of this blog—Eidetik—is more than just a title. It refers to the ability not only to see images, but to retain them vividly in the mind. For me, eidetical perception means that an image resonates beyond the moment—that it lingers, echoes, and evokes its own associations within the viewer.

This is precisely my intention: to create images that are not only seen, but remembered. Images that open a space in which perception and imagination meet.

Why do I share these images online? Perhaps because seeing is always also a form of sharing. An image gains a new dimension when it is viewed by others. It is expanded, transformed, and reinterpreted.

Thus, this blog is not a finished work, but an open process—an invitation to follow my way of seeing, and perhaps to question or rediscover one’s own.

Another aspect of my work is experimenting with new technological possibilities—including working with artificial intelligence. I have come to see AI not as a replacement, but as an extension of my artistic tools. Just as digital photography once opened new paths, AI offers its own form of image creation.

What interests me is not the spectacular or the arbitrary, but the question of whether and how these means can be used to develop an independent and artistically meaningful visual language. I use AI consciously—with experience, intuition, and a cultivated sense of aesthetics—as someone who has worked with images for decades.

Here, too, my aspiration remains the same: to create images that are more than mere effects. It is about depth, resonance, and the interplay between idea and perception. AI opens new spaces—but it does not replace the eye, the decision, or artistic judgment.

In this sense, working with AI is part of my ongoing dialogue with the image: an attempt to explore the boundaries of the medium while remaining true to my own visual voice.

Horses hold a special place in my life. In their presence, I find a sense of calm and peace that stands in stark contrast to the often hectic and noisy world. They meet humans without pretense—with a clarity and honesty that can be felt immediately. Working with them requires trust and respect, yet it also returns exactly that. This experience changes the way I perceive my surroundings: quieter, more attentive, more mindful. Perhaps it is precisely this unfiltered encounter that helps me, again and again, to see both myself and the world around me in a more conscious and authentic way.