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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READ: Cristina Mittermeier on the Environmental Trials and Tribulations of Antarctica [Interview]

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]

“Beyond the Peonies,” 36 x 48, Oil on Wood Panel and Canvas, 2021. Courtesy of Harmonia Rosales.

In her exhibition Master Narratives, Afro-Cuban American artist Harmonia Rosales seamlessly entwines the tales and characters of the Yorùbá religion, Greco-Roman mythology, and Christianity with the canonical works and artistic techniques of European Old Masters. Through her 20 oil paintings and a large-scale installation reminiscent of Michelangelo's Sistine Chapel ceiling, Rosales is spotlighting oft-forgotten narratives where Black voices take center stage.

In doing so, she's hoping to give her community a space where they see their reflections in the Orishas. These deities of the Yorùbá religion are painted with the same care that the masters of the Italian Renaissance gave their subjects. Now on view until December 2 at the Spelman College Museum of Fine Art in Atlanta, visitors are invited to immerse themselves in a world five years in the making.

In the Birth of Oshun, modeled on Botticelli's classic the Birth of Venus, Rosales incorporates rich Yoruba symbolism and explores themes of Black female empowerment. With the Creation of God, she subverts Michelangelo's Creation of Adam by depicting a Black woman as the first human. Instead of the Eurocentric view of God, Rosales places a woman in this position. In doing so, she challenges us to think about our own accepted views of beauty and power norms.

But perhaps the crowning jewel of Master Narrative is Rosales' reimagining of the Sistine Chapel ceiling. Here, for the first time, she's tackled sculpture by installing the piece across the hull of a slave ship. It's a moving piece that puts visitors, regardless of race, in a position where they are forced to confront this part of American history.

We had the chance to speak with Rosales about Master Narrative and her love for Old Master paintings, as well as her dedication to sharing Yorùbá mythology with a wider audience. Read on for My Modern Met's exclusive interview.

What inspires you about the art of the Old Masters, and how does this type of art serve your creative vision?

My artistic journey has always been greatly influenced by the Old Masters ever since I admired them in museums as a child. Their works were always such a magnificent and awe-inspiring display of intricate detail, symbolism, and storytelling. It truly provided a foundation upon which I've built my creative vision of how I wanted to reveal these ancient stories of the African gods.

My works, although figurative and realistic, have abstract symbolism, reminiscent of the Old Masters, but with a distinctive touch of African aesthetics and mythology. The Orishas, deities of the Yorùbá religion that have been “synchronized” to Catholic saints during times of oppression, are central to my art, as well as “Eve” who represents the ancestors who were enslaved and brought to America.

I seek to unmask the Orishas from their Catholic masks by presenting their true forms using the very medium that was once imposed on our enslaved ancestors.

“Creation of God,” 48 x 60, Oil on linen, 2017. Courtesy of Harmonia Rosales.

“Creation Story,” 48 x 72, Oil on wood panel, 2021. Courtesy of Harmonia Rosales.

Michelangelo is clearly a big inspiration. Can you share what the process of recreating his Sistine Chapel ceiling was like for you?

Michelangelo's work on the Sistine Chapel has definitely left a mark on my artistic journey. The way he captured the essence of key biblical stories, painting a vivid picture of Catholicism's concepts of heaven and hell, resonated deeply with me. I sought a similar approach in my latest installation, Master Narrative, to explore African history through the imagery of Orishas.

Drawing from Michelangelo's narrative style, I embarked on a five-year journey to create a body of work that encapsulates the creation myths and stories pertinent to African culture and history. From the creation of the world by Orishas to the creation of Eve and her life through the Atlantic slave trade, each painting was a piece of a larger puzzle, summarizing key elements from the Yorùbá religion and ancestral history, including the tragic period of the Atlantic slave trade.

(continued) For every exhibition over five years, I displayed a new piece of the puzzle. This gradual unveiling of the grand narrative provided me with valuable insights into the direction of the final work. I made sure each painting was crafted with as much love, care, and attention to detail as Michelangelo devoted to his masterpiece.

However, upon completing the final pieces, I found myself facing an unexpected challenge—how best to display this series of paintings. My initial thought was to recreate a church chapel, but I soon realized that this would only further tether the Orishas to their Catholic saint counterparts.

In a moment of revelation, as I pieced the paintings together, I noticed they formed a shape reminiscent of the undercarriage of a slave ship—a poignant symbol of the painful history of slavery. This unexpected connection sparked a creative solution. By displaying my Master Narrative on a representation of a slave ship's undercarriage, I could evoke the painful history of slavery while simultaneously reclaiming and celebrating the resilience of the Yorùbá religion.

“Yemaya Meets Erinle,” 48 x 36, Oil and iron oxide on Belgian linen, 2019. Courtesy of Harmonia Rosales.

“Yemaya Ascension into the Waters,” 20 x 20, Oil on linen, 2019. Courtesy of Harmonia Rosales.

Can you share a bit about the Yorùbá religion and why it was important for you to share these stories?

Introduced to the Yorùbá religion by my late Afro-Cuban grandmother, it has always held a profound significance for me. Unlike many faith traditions that center around a single Messiah or Chosen One, Yorùbá offers a unique perspective where everyone is seen as their own chosen one, the architect of their fate. The Orishas—divine beings embodying elements of nature and facets of the human psyche—exist not to rule over us but to guide and assist us in fulfilling our destinies.

Yorùbá's stories and teachings, I believe, are as ancient, if not more so, than those of Greek mythology and Catholicism. They weave a rich tapestry of interconnected narratives that are deserving of wider recognition and inclusion in our global historical discourse.

My artistic endeavor is an attempt to bring these overlooked narratives into the spotlight. It is my sincere belief that when we feel seen, recognized, and acknowledged, we can experience empowerment and healing—both individually and collectively. This is not just art for art's sake. It's a celebration, a reclamation, and a call to action.

“Our Lady of Regla,” 40 x 40, Oil, iron oxide, and 24k gold on wood panel, 2019. Courtesy of Harmonia Rosales.

“Birth of Oshun,” 55 x 67, Oil and iron oxide on Belgian linen, 2017. Courtesy of Harmonia Rosales.

How did becoming a mother influence your art and the types of stories that you want to tell?

Becoming a mother was akin to being reborn. It opened my eyes, enabling me to perceive the world through the pure and innocent gaze of my child. As a mother from an Afro-Cuban background, I felt a deep-rooted desire to shield my daughter from ever feeling less than her true worth in a society that often overlooks the beauty of ethnic heritage.

This maternal instinct spurred me to use my art as a powerful tool for change. I devoted myself to painting a world where my daughter—and anyone from our community—could see themselves reflected in all their natural glory. I wanted to create a universe in which they would not just feel included but celebrated.

The power of seeing oneself depicted in divine forms cannot be overstated. It can have a transformative impact on one's self-esteem, fostering a deep sense of pride in one's identity. It is a potent affirmation that we, too, are worthy of being portrayed as divine beings, embodying grace, strength, and beauty.

In conclusion, my art is not just about creating visually appealing pieces; it's about painting a world where my daughter, and others like her, can see themselves as divine, as beautiful, and as chosen. It's about using art as a force for change, a catalyst for empowerment, and a platform for social justice.

“Ascension of a Woman,” 51.5 x 41, Oil on linen, 2018. Courtesy of Harmonia Rosales.

“Still We Rise,” 60 x 55, Oil, iron oxide, and gold on canvas, 2021. Courtesy of Harmonia Rosales.

“Migration of the Gods,” 36 x 72, Oil, iron oxide, and 24k gold on Belgian linen mounted on wood panel, 2021. Courtesy of Harmonia Rosales.

How do you hope that visitors to the exhibition take away from the work?

When visitors step into my Master Narrative exhibition, I want them to embark on a journey. A journey that transcends the confines of the gallery walls and transports them into a world rich with untold stories, unexplored histories, and underrepresented narratives.

As they journey through the exhibition, I want visitors to feel a sense of connection—with the art, with the stories, and ultimately, with each other. I want them to reflect on the power of art as a tool for social change, and the role they can play in amplifying these stories in their own circles.

I hope that each visitor will leave my exhibition carrying a seed of curiosity, a spark of inspiration ignited by the stories embedded within my artwork.

I hope to inspire future leaders, thinkers, and creators to continue this conversation, to challenge the status quo, and to champion the power of diverse representation in all walks of life.

What are you working on next?

I've reached a juncture in my artistic journey where I find myself continually narrating the stories encapsulated within my paintings. It seems many who are captivated by my work aren't entirely familiar with the narratives they represent.

These tales, steeped in the Yorùbá religion, have been traditionally passed down orally through generations. Their preservation in spoken form was a strategic measure to ensure their survival during periods when foreign religions were forcefully supplanting indigenous beliefs.

With this in mind, I am currently immersing myself in a new series that delves deeper into these ancient Yorùbá narratives. This project, entitled Transformations, will offer a more profound exploration of these stories. In parallel, I'm also penning a book that will bring these mythologies to the written page, making them more accessible and allowing their wisdom to resonate with a broader audience.

Harmonia Rosales: Website | Instagram | Facebook

My Modern Met granted permission to feature photos by Harmonia Rosales.

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A woman named Precious Price is a force of nature. As a digital marketing expert, she helped brands with their content strategy. And when she was able to purchase her first home, she transformed it into a career-changing investment. When Price was just 25 years old, she took advantage of extra space in her Atlanta backyard and constructed a 300-square-foot tiny home. While she initially rented it to tourists, she's since moved in herself and has rented out her main home.

This decision, which was motivated by the national housing crisis and the lack of travelers during COVID, nets her more than enough to cover her mortgage and the expenses of the tiny home. Now, freed up from her living expenses, she's able to invest in her own dreams. And, always the entrepreneur, she now lends her expertise to others looking to create smart financial decisions with real estate and has even started a company, Gather, that helps others build an ADU, or accessory dwelling unit.

As she empowers others to look at new avenues for financial freedom, Price is setting a precedent. You can be young, you can be a woman, you can be a person of color, and you can make smart decisions to meet your personal financial goals. We had the pleasure of chatting with Price about what made her take a look at tiny living, how her parents taught her to be financially responsible, and what it's like being a landlord. Read on for My Modern Met's exclusive interview.

When did you first hear about tiny homes, and was it a lifestyle you always thought that you could adapt to?

I first heard about tiny living and minimalism back in 2018 after stumbling on a few YouTube creators who were documenting their tiny living journeys in converted vans and RVs. In the beginning, I toyed with the idea of converting a van and simply traveling the country. I've always enjoyed traveling and don't consider myself extremely materialistic, so I knew it was definitely a lifestyle I could get behind.

However, after doing a bit more research on van conversions, I realized that though that route could provide good fulfillment and adventure, it didn't necessarily align with my financial goals or the ROI [return on investment] I was looking for with my own downsizing project. After purchasing my first property and noticing the extra backyard space, I knew that a backyard tiny home would be my next best bet.

You are clearly very financially savvy. Is that something that has always been instilled in you? Where did you get your financial prowess?

Growing up, financial literacy was a hot topic in our household, so I have to give credit to my parents for instilling that value in me. I didn't grow up wealthy or rich by far, but my parents just made it a point to teach both myself and all of my siblings the principles of budgeting, saving, credit, and even entrepreneurship because they realized how not knowing those principles during their childhood stunted their growth.

A core memory I have is finding a credit card in my parents' bedroom with my name on it. Naively, I asked if I could keep it and use it myself and was surprised when the answer was no; I mean, it had my name on it! It was later explained to me that I was added as an authorized user on the credit card. I didn't grasp the magnitude of this until I was preparing to buy my first car, and, even later, my first house, and my credit score was already 800!

What was the most difficult part of the process in terms of getting the home up and running?

Ugh, the backyard tiny house build experience came with tons of peaks and valleys—especially during COVID. I'd say the most difficult part of the process was clearly identifying what steps needed to be taken to make a project like this happen. It's easy to think you can just order a structure online, have it delivered, and boom, you're good. But there is so much that needs to happen prior to any shovel hitting the ground.

At the time—and even now—there wasn't really a central resource that outlined the steps that needed to be taken regarding zoning, permitting, and even connecting utilities for an ADU or accessory dwelling unit build. So constantly calling the city and receiving different answers based on who I spoke with on what day had to be the most difficult part of the backyard ADU process.

What has been the best and worst thing about living in a tiny home?

The best thing about living in a tiny home has got to be never truly misplacing anything. When you're limited on space in terms of living arrangements, everything has a place. So it's nice knowing exactly where all of my things are at any given moment.

The worst part would have to be whenever I get an urge to have friends over to just hang out or catch up. I used to really enjoy hosting holiday parties or gatherings, but with the limited space, I've definitely had to cut back. It has allowed me to get a bit creative though, and now I incorporate the outdoor/backyard area into any plans for gatherings. It's all about balance.

What's the best and worst thing about being a landlord?

Any landlord will tell you that landlord life is certainly not for the weak. However, I find fulfillment in being able to offer reasonably priced housing to populations that are truly in need—students, medical workers, and the like. In this market, there are so many people struggling to keep a roof over their heads. So positioning myself as a part of the solution and providing adequate housing keeps me in this game. The worst part of being a landlord might have to be the responsibility of it all. Everything falls on you as the home- or business owner.

How has this move changed your life, both financially and from a personal perspective?

The biggest change has been totally eradicating my own housing expense, which has always been a goal of mine. Of course, I still have the mortgage, but now that each room or suite in the primary home is rented, this completely covers expenses for both the primary home and ADU; allowing me to keep more money in my pocket and save. From a personal perspective, this move into the backyard tiny home has pushed me deeper into a sense of gratitude—fully realizing and trusting that I have everything I need in this season of my life. It's also provided a hefty amount of security for myself and even my family. I know that this is always a place either myself or a family member could utilize if an emergency arises, and I also know that when life changes, it'll be an income-producing asset.

How long do you envision staying in the tiny home?

I always knew tiny living would be temporary for me since one of my major goals is to live and work abroad. Thanks to downsizing and having the ability to save more of my income, I am definitely on track to meet that goal by early 2024.

What would be your biggest piece of advice to young people looking to become homeowners without putting themselves in a precarious financial decision?

My biggest advice for young, prospective homebuyers is to start where you are. Don't focus on trying to acquire 10 doors in the beginning. Just focus on getting rid of or minimizing your own living expenses, whether that is through getting a roommate or moving in with family. From there, you have the mental clarity—and financial means—to take a bigger next step. I'd also add that it's important to understand your first home is likely not your “forever home.” So weigh your risks, but don't overthink it. With real estate, you never lose. You either win, or you learn.

What do you hope that others can learn from your story?

If people get nothing else from my story and journey, I just hope that they pick up on the principles of delayed gratification and collectivism. There was tons of planning and waiting that allowed me to get to this point, and the driving factor of it all wasn't just about me but also the people around me that I care about and my broader community.

Precious Price: Website | Instagram | YouTube

My Modern Met granted permission to feature photos by Precious Price.

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For eight days, photographer Drew Doggett floated in the Arctic waters of Svalbard, Norway. Doggett made his way up north and climbed aboard a research vessel for a once-in-a-lifetime adventure that brought him up to the 80th parallel north. From there, he was able to document the ethereal landscape while also actively seeking out polar bears.

His new limited edition series, Northern Dreams, is the result of this journey. It's one that brought Doggett closer than he'd dreamed to the polar bears he'd so desperately hoped to find. As he watched a mother and cub play together for nearly four hours, he realized that this was an extraordinary experience he would likely never forget.

We had the pleasure of speaking with Doggett about his journey to the Arctic and how the landscape both challenged and inspired him. Read on to for My Modern Met's exclusive interview to hear more about his personal experience in Svalbard and with the polar bears that motivated him to first make this voyage.

What inspired your journey to Svalbard, and how much time did you spend there?

Over the last decade, I've been on a quest to document the most extraordinary animals, and polar bears were high on my list of subjects to photograph to continue this trajectory. Polar bears' territory is linked to their survival ability, and through my work, I wanted to tell this story.

Additionally, I photograph what is at risk of disappearing. I was drawn to Svalbard’s epic yet abstract landscape that would act as the backdrop for this series. Svalbard’s snowy peaks with volcanic rock and large, untouched swaths of pristine snow, glaciers, and cool blue sea ice presented the perfect otherworldly landscape for me. We spent eight days on board a research vessel traveling around the Archipelago, reaching 80° North, until the pack ice became impossible to pass.

What was the most surprising part of your time there?

Svalbard is a vast Arctic landscape, and the bears can disappear into the snow and rocks. In fact, the first time our captain pointed out a polar bear on a nearby rock formation, it looked no different than the ground around it. While I knew finding the bears would be a challenge from onboard our ship, I was taken aback by just how difficult it would be to create the images I had in mind.

There were two huge obstacles at hand. First, I needed to be as physically close to the bears as safely possible, and our movement was limited to our Zodiacs if I wanted to be at eye level or below with the bears. Plus, there was the matter of navigating the ice and the fast-changing conditions of the summer thaw in Svalbard. We walked away with some extraordinary images, but it was all hands on deck all the time in terms of seeking the bears, and I spent every spare waking moment on the bridge, scanning the horizon with binoculars.

I quickly learned that Svalbard has its own rhythms and character, and I was constantly humbled by this Arctic landscape. However, I love an adventure, and this was definitely a big one.

Can you share a bit about your encounters with polar bears and what it was like to photograph them?

We had one encounter that was easily one of the most emotional moments of my career so far with a mother and cub. Most wildlife encounters are seconds or minutes, but we had four hours of a once-in-a-lifetime experience.

Several days in, we were approaching a point in our expedition where travel would be impossible based on pack ice, and the landscape became even more surreal and serene. Just as we had settled into our rooms for the night, our captain came over the loudspeaker announcing a bear had been spotted. Eagerly, we jumped into our survival suits and lowered the Zodiacs into the water. The next few hours would become my career's most extraordinary wildlife encounter to date.

The cub started to play, and the mother followed. They climbed and slid down a nearby embankment, headfirst, and then again, on their bellies. After a few rounds on the “slide,” the cub began to pounce on the ice's edge, breaking off pieces of ice and then tossing them in the air only to catch them and throw them in the water. Diving in, the cub would retrieve the ice, or what was left of it, and start the whole spectacle again. He was clumsy, like a child learning about dexterity, but in the most charming, captivating way. Hours passed as we watched the mother and her cub swim and play, amusing themselves in their natural playground.

Beyond any of these elements, the humanity of the mother and cub together left an indelible mark on me. Watching any young animal is typically adorable, but the bond between mother and child is universally significant and easily recognizable.

There is very much a fine art sensibility to your work. What are you looking for when picking out the perfect composition?

My images are refined, minimal, and ultra-detailed, enabling my photography's fine art feel. Everything contained within the final series is composed to tell the story of my subjects, with the elements of form, shape, texture, and negative space working in harmony to craft the resulting series. There’s also an ethereal nature to many of these images, which creates a dreamlike quality lending itself to my fine art aesthetic rather than a more documentary one.

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

Creating photographs of wild places and animals comes down to the challenge of establishing an emotional connection between the subject and the viewers. At its core, my goal is always to honor and celebrate animals and places, as we can only love and protect what we understand. If my images can offer a sense of understanding and, therefore, connection, then I feel I’ve done my job.

What's next?

I'll return to East Africa in a few weeks to continue photographing animals in various regions within Rwanda and Kenya. Later this year, I'm also guiding small groups to these regions, where we will visit some of my favorite locations and camps in East Africa in Botswana, Tanzania, Ethiopia, and others.

Drew Doggett: Website | Facebook | Instagram

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

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For some people, being born into one of the world's most famous animal conservation families would come with a great amount of pressure. But not for Robert Irwin. His family, led by the late Steve Irwin, are pioneers in the field and renowned for the work they do. Irwin, who was just 2 years old when his father passed away tragically, has not only taken up the legacy of his father, but has carved his own path as an award-winning wildlife photographer. Now 19 years old, he's brought together some of his best work in a coffee table book titled Robert Irwin's Australia.

From the time he was 13 years old, Irwin has been honing his craft. Using his artistic talents, Irwin has been able to shed light on important conservation issues and spotlight incredible wildlife that is in desperate need of help. This, combined with the work he and his family do at the Australia Zoo, make him a force to be reckoned with in the conservation world.

As Irwin leaves his teen years behind, we thought it was time to check in with the talented photographer. Read on for My Modern Met's exclusive interview, where he reflects back on his growth over the past six years and looks ahead to what's on the horizon.

We first covered your work when you were 13 years old, and now here you are, leaving your teens. What do you think has been the biggest change in how you approach photography over the years?

First of all, thank you for being there close to the beginning of my photographic career. I am delighted to chat with My Modern Met once again all these years later!

I think the biggest change in my approach to photography has been how story-driven I have become. When I am out and about photographing, I give a lot of thought to the story I wish to tell in each image and the message I want to send. I try to put myself into situations and visit places where I can capture photos that shine a light on important conservation and environmental issues.

How do you think you've grown as a wildlife photographer in these last six years?

I hope that in these last six years, my reach and voice have grown and that I can inspire even more people through the images that I take. In my growth and progression as a photographer, I have tried to diversify, try new things, and take new opportunities. The most recent and rewarding of which was releasing my Australia, By Robert Irwin photography coffee table book. It really was a summation of my journey behind the lens and gave me time to reflect on just how far I have come over the years.

What drives you to continue to be a voice and advocate for animals?

Having the opportunity to travel the world through my passion for photography and my family's conservation work, I have been blessed with perspective. I have had the opportunity to see endangered species on the brink, devastation after wildfires, rainforest deforestation disrupting the balance of nature, and the profound effect of climate change in the arctic circle. Seeing things like that makes one realize that inaction is not an option. Our natural world is in desperate need of warriors ready to fight for our future and inspire others to do the same. There is an important balance to strike—showcase the stark reality of the uphill environmental battle we face and also reinforce a sense of hope that there is still time to make positive change.

Moving into your 20s, what do you hope to accomplish?

As I move into my 20s, I am so excited by this new chapter and all that I wish to achieve. I hope to further extend my reach and my platform, as I start to really address the big problems that face our world, no matter how controversial they might be. I think it is so important to give people hope for the future by sharing the beauty of the natural world. I am looking forward to taking on new projects—one of which is to expand into a set of photography books. After releasing Australia, I plan on producing an Africa and North America book.

Aside from your father, who else in the conservation world inspires you and why?

My parents will definitely always be my biggest inspiration. They really were conservation pioneers and made conservation mainstream…no easy feat! But, there are also so many others in the conservation field that I look up to and have had the honor of working with. There are so many people I could name, but there are a few that stand out in my mind.

Peter Gash and the Gash family are leaders in reef conservation at Lady Elliot Island on the Great Barrier Reef, of course Cristina Mittermeier and Paul Nicklen as legendary oceanic conservation heroes with their fantastic Sea Legacy charity, and David Prior and his incredible family who operate the Prior Family Foundation definitely must have a mention. I could go on and on when it comes to conservationists that inspire me.

What's the next big challenge that you would like to give yourself as a photographer?

I feel that when it comes to wildlife photography there is always a new challenge. There are the big challenges and milestones like launching a new gallery or a new book, and then there are the challenges that come in the form of a new species or location. I am always on the lookout for a new endangered or rare type of animal to capture on camera and constantly add new locations to my very long list of where to photograph. Gorillas and polar bears are high on the list for me right now.

What advice would you give to young photographers who are curious about shooting wildlife?

First of all, believe in yourself and have the courage to seize opportunity when it comes. Focus more on developing your own photographic style than the gear you use, and take a lot of photos. When I say a lot, I mean A LOT. Photograph everything, make it more than just a hobby, but a lifestyle. Have a camera with you always, and if you don’t have one, keep looking around you and think about what would make a great photo.

Never lose sight of the message you want to send with the pictures that you take. Own a film camera at some point in your photographic career. And spend one month only photographing with that camera, and one prime lens.

Lastly, and most importantly, take photos for you and nobody else. That doesn’t mean you can’t still share your images with the world, but when you are pressing the shutter, take the photo that makes you feel fulfilled and does justice to your style.

Robert Irwin: Website | Instagram

My Modern Met granted permission to feature photos by Robert Irwin.

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While many artists are running from AI, digital artist Cy Teh has embraced its creative possibilities. By blending his digital drawings with AI, he's creating unique mixed-media artworks that have taken his artistry to a new level.

As opposed to some creators who have hidden their use of this technology, Teh is very transparent about his creative process. Even his Instagram bio says: “Digital Artist + AI.” Additionally, all of Teh's posts are accompanied by a caption that clearly explains that the images are a combination of his hand-drawn work and AI.

“I will keep moving forward and learning the good parts of each field,” the captions continue. “I hope to share the fun with you through this platform. If it offends you. I sincerely apologize to you here.”

Teh's evocative work speaks to the best of AI and the way it can be used by people to enhance creativity rather than to steal ideas or fool the public. His haunting portraits of young and old men and women are mesmerizing, making the viewer wonder what the story is behind the artwork.

It's these human aspects that take Teh's digital art far beyond what we're used to seeing with AI. This made us curious to chat with him about his use of the technology and how it's been received by the public. Read on for My Modern Met's exclusive interview.

How did your love of art begin?

My passion for art began in high school, but due to my career in graphic design, I had to put it on hold for many years. It wasn't until the COVID-19 pandemic three years ago that I finally had the time to slowly start practicing drawing again.

When did you first encounter AI, and when did you realize that it might help you creatively?

I also discovered an artificial intelligence during the COVID-19 pandemic that can help me with painting techniques. AI has inspired me a lot in the field of art, so I really enjoy using it.

You are very upfront about your usage of AI, so you aren't trying to hide that it's part of your creative process. What has been the public's reception to this disclosure?

I have faced polarized reactions when it comes to using artificial intelligence. While some people are very supportive, others are strongly against it. However, both groups have been of great help to me. After explaining my reasons and goals for using AI, some of the opponents have become good friends who understand my perspective. I have also used my artwork to explain, and they have been willing to accept it. This is where I find comfort.

What has been the most positive aspect of using AI in your work to create a true mixed-media product?

What I've learned the most from using artificial intelligence to create art is the ability to explore new possibilities and maintain the desire to learn new skills. This process has captivated me.

What is your creative process on these pieces?

My workflow involves using my casual doodles to generate the images I want with artificial intelligence and then using software to refine any imperfections.

What do you wish that people understood better about AI?

I hope people can understand that artificial intelligence is just a tool. It's our responsibility to use it correctly. It is indeed very powerful, and there are many aspects we can learn from it. Currently, I am learning how to blend its use with my own skills to create more possibilities. AI helps me maintain a sense of freshness in my art.

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

I hope that my artwork can inspire people to continue innovating in the field of art and to enjoy the process of continuous learning and exploration. This is my goal, and I hope to bring happiness to others while also finding joy in it myself.

Cy Teh: Instagram

My Modern Met granted permission to feature photos by Cy Teh.

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For the past decade, photographer Suitcase Joe has been spending time at Skid Row in downtown Los Angeles. This area, known for its population of people experiencing homelessness, often gets a bad rap. Suitcase Joe was curious to connect with its inhabitants and learn more about their stories. And from this desire, he forged relationships that have allowed him to capture Skid Row in a raw, honest manner.

His unflinching look at life on the street is also tinged with the respect he has for the people that he meets. By approaching them with a genuine spirit, he's found himself enriched by these encounters. It's this enrichment that he hopes to pass on to others by publishing his work together with short texts to explain the meaning behind the images. Soon, he'll be releasing his second book Grey Flowers with Burn Barrel Press, which will feature many of his Skid Row images.

We had the opportunity to speak with Suitcase Joe about his photography. Read on for My Modern Met's exclusive interview and learn more about what pushed him to visit Skid Row, as well as why he feels that he's been able to get its residents to open up to him on camera.

Where does your love of photography stem from?

It's hard to say exactly where my love for taking photos comes from. I read more than I look at other people's photography, and often it’s the feeling from the people and places I’ve read about that I’m trying to capture. I want my photos to make people feel the way books and authors have made me feel.

For me, photography is much more than taking photos. I love to be alone, to wander and explore. I like meeting all kinds of people and talking with them to learn about their stories and life. My camera and writing give me a reason to do all this. It really brings me the deepest kind of joy—a small quiet one that I take everywhere I go.

What first pushed you toward documentary photography?

It all happened organically for me. I thought someone should photograph and document Skid Row for historical archives. I suggested the idea to a couple of photographers, who told me they had no interest in going into Skid Row. Eventually, I realized I was seeing it a certain way in my head, and I should just pick up a camera and do it myself.

I never set out to be any one kind of photographer, but my wanting people to connect with the unhoused is what pushed me toward documentary photography. At first, I just wanted to photograph all the people living in Skid Row. I thought about what the photos would look like to someone seeing them a hundred years after I took them. Soon I realized my photos alone were not enough to tell their stories.

Next, I began writing about our conversations and what I learned from them. That really changed everything for me. It combined writing, photography, adventure, and helping people all in one. I’ve continued to grow in the documentary direction ever since, but I approach my photos like fine art. I want to show the beauty of people and places. I’m most interested in showing the beauty of overlooked places or misunderstood people.

What was your first experience taking images at Skid Row like?

I was scared to go into Skid Row early on. I continually had to push myself past my comfort zone and go a little further each time. The first experience I can remember is talking with a man who went by the name Old Red. We hung out at his tent for a few hours while he fried chicken and talked. His intelligence was on another level. I remember thinking to myself, “Why am I surprised this man’s intellect is far beyond my own?”

I came to the realization that I was not as open-minded as I thought I was. I made the assumption that Old Red, like many others living outside, was not as intelligent because of where they were at in life. I know now that there are countless reasons why anyone can end up living on the streets, but that was a profound moment for me. I knew then that I had a lot to learn. I needed to be aware of my own misconceptions and shortcomings if I was gonna help change them for others. We all have room to grow.

Why do you think you are able to put people at ease in order to get the photograph that you're after?

I get asked this a lot, and the only thing I can surmise is I’m genuine. I really care about the people I meet. I truly am interested in getting to know them. The connections I make are real. I don’t always take my camera along. I champion the underdog because I grew up as one. I greatly appreciate the time they take to speak with me and the many who have opened up about themselves to share with me. I really love them all.

What's the biggest misconception you feel that the public has about people living on Skid Row?

Where do I begin? The truth is no matter where you’re at in life, we all want the same things—to be loved and appreciated and to be treated with dignity and respect. People living on the street are highly aware that people look down upon them like they are subhuman. This prevents a lot of them from ever trying to escape their surroundings because there is comfort in surrounding yourself with others who understand where you’re at without judgment.

The biggest misconceptions are that people living on the street want to be there or that they are there because they’re lazy or drug addicts. Each of them is a product of different environments, and no easy road ever leads to Skid Row. Don’t assume anything. Go say hello and find out.

What's your most memorable encounter and why?

I’m not really a nostalgic person, and I don’t do too much looking back. Nothing stands out specifically. I look at my time there as a whole. Skid Row has deeply changed me as a person for the better. As many people as I’ve helped in Skid Row, they have also helped me. It was years before I realized Skid Row was my own kind of therapy. All the wonderful people there made me fall in love with humanity again.

What do you hope that the public takes away from these images?

Love and compassion for others even when it's difficult and doesn’t always make sense. We don’t always have to understand everyone around us—but that doesn’t mean we shouldn’t be kind.

Suitcase Joe: Instagram

My Modern Met granted permission to feature photos by Suitcase Joe.

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New York-based street photographer Billy Dinh has amassed a large and loyal Instagram following thanks to his talents. His dramatic, moody images heavily rely on light and shadow, which coupled with his ability to capture unique moments, make them look pulled from a film. Through Dinh's lens, we're able to watch the world unfold and peek into the small moments of life.

Whether it's a woman wiping tears from her eyes as her train is about to pull away, or a man staring out the window on an empty ferry, Dinh takes average moments and elevates them to high art. With formal training as an illustrator, Dinh clearly has developed an eye for putting together captivating stories that pull the viewer in.

We were lucky enough to chat with Dinh about his street photography and learn more about how his passion for photography developed. We also learn more about what he looks for when he's out on the street, as well as his biggest concern with AI imaging. Read on for My Modern Met's exclusive interview.

How did your love of photography begin?

Photography has always been in my life since as early as I can remember. From the days of my family’s analog camera to picking up disposable cameras for class field trips, to owning my own point-and-shoot digital cameras, to where we are now with mobile phone cameras, photography has always been a way for me to preserve my memories and experiences.

It wasn’t until I started traveling abroad within the last 10 years that photography started to become something more than that. At first, the photos were more personal and were captured on my mobile phone. However, as I visited more places, I slowly found myself wanting to take photos more creatively and outgrew the mobile phone. I’ve been obsessed with photography ever since I decided to take it seriously.

What specifically attracted you to street photography as a genre?

I started my early photography career capturing landscapes and cityscapes. But something always felt unfulfilling to me about that experience, and coming from an illustration background, I had always been interested in illustrating people. It wasn’t until my visits to countries like Guatemala, Jordan, Egypt, and Mexico that I started to naturally gravitate toward taking photos of people instead of places.

Initially, it was because of the appreciation of diversity. How different, interesting, and beautiful people looked in their own way from all around the world. But soon, I became more interested in how people lived and not just what they looked like. How they interacted with each other and their surroundings. I become more interested in their stories and their lives and the little everyday moments that make them who they are, no matter where they are or where they’re from.

How does your photography change the way you live and move through the city?

It’s for sure changed so much in the way I live. I find that I can’t go anywhere these days without having a camera around my neck or in my hands. It’s changed the way I see the world and has constantly allowed me to see my own home in NYC with fresh eyes. I find I would explore parts of places I never cared about before or even knew existed. I’ve gained a whole new appreciation for constantly observing and being present wherever I am. In some ways, it has slowed me down a bit and has allowed me to take my time in a city that’s so constantly fast-paced. I now take so much notice of details in things that would have never in a million years interest me before. I can say photography has given me a whole new appreciation of life.

When you are out shooting, what are you looking for when you decide what warrants a click of the shutter?

It’s a combination of things. I think if I can sum it up into four categories, it would be the following. First, the visual element. I look for interesting people, colors, textures, layers, lighting, shapes, and interesting ways people and/or objects are positioned in a scene. Things that are appealing to the eye.

The second category I look for is what’s happening with the subjects. I look for interesting and unique interactions between people and objects in their surroundings. I enjoy having a story element and hidden messages in my photos. I enjoy photographs that make you think and wonder.

The third is the overall feeling of what I see. Sometimes you can see a scene unfold before your eyes and have it strike a chord emotionally or make you feel nostalgic. There’s something personal when a photo can remind you of something from the past, whether it feels good or bad.

The last category I enjoy capturing is something that looks and feels from another place, time, or world. I love movies in the way they often take real-life scenes and make them feel like they’re not. I particularly gravitate to this when I am out shooting. While what I end up capturing will include one or more of these categories, it’s coming across all four at once that warrants a satisfying click of the shutter to me.

You've had a lot of success on social media. What have been the positives and negatives of that success?

I think the positive side of my social media presence is being able to have my photographs reach people it wouldn’t normally be able to. It’s also allowed me to meet some amazing people and provided me with some great opportunities. It’s a privilege to be able to have my work seen by people that could potentially inspire them to pick up a camera. It’s one of the greatest feelings.

On the other hand, though, there’s a lot of pressure with social media. Especially if you are a full-time artist and rely on social media as a way to promote your work and brand. It’s all tied to the numbers, and that, in turn, can affect the honesty in what you create. While I've been much better with this, it's definitely a problem I see today.

AI is such a hot topic now. As a photographer, do you have concerns about AI—particularly if it continues to improve and blur the lines with photography?

It’s an interesting question. I’ve been pretty active following the growth of AI art since it became more mainstream recently, and as of right now, I have mixed feelings about it. A part of me sees the benefits in how it can help take existing digital art mediums to the next level and even excel as an art form on its own. I’ve seen some phenomenal “post-photograph” AI work that, while looking as realistic as photographs, depict things that just couldn’t happen in real life but look extremely real. I think this is where AI is excelling in my opinion.

The main concern I have with AI is not so much that it will blur the line with photography. I think it is inevitable that AI will look so real that you can’t tell, and it will happen very soon. However, a photograph documenting the world will always be a snapshot of something that exactly exists timestamped in history. AI can never achieve that.

My biggest concern with the whole thing is trying to pass off AI as actual photographs without mentioning it. This is where my concern is. At the moment, the average person probably couldn’t tell the difference between most AI work being passed as photos. I’ve been getting asked more and more frequently over the last few months if my photos are AI. They are not. If something doesn’t change, we may not be able to know what a real photograph is versus what’s AI in the near future, and that’s when we lose what actually existed and what is made up.

What's next for you?

I have a few personal photography projects I am working on that I hope to share with the world one day, and a few I am in the process of starting soon. I’m not ready to share them at the moment, unfortunately, but anyone who’s been following along with my journey may have some ideas as to what they may be. I am also in the early stages of putting together ideas for my first book. I want to actually release something I’d be proud of, so I’m taking my time with it. I am also excited to just continue to grow as a photographer and share with everyone the world through my eyes.

Billy Dinh: Website | Instagram | Twitter

My Modern Met granted permission to feature photos by Billy Dinh.

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