Tomasz Tomaszewski: Photographer, Educator & Philosopher
Tomasz Tomaszewski has a Ph.D. from the Academy of Fine Arts in Warsaw and is a member of the Union of Polish Art Photographers, the Visum Archiv Agency of Hamburg, Germany, the National Geographic Creative Agency of Washington D.C., and the American Society of Media Photographers. He specializes in journalistic photography and has had his photos published in major newspapers and magazines worldwide including National Geographic Magazine, Stern, Paris Match, GEO, New YorkTimes, Time, Fortune, Elle, Vogue. He has also authored a number of books, including Remnants: The Last Jews of Poland, Gypsies: The Last Ones; In Search of America, In the Centre, Astonishing Spain, A Stone’s Throw, Overwhelmed by the Atmosphere of Kindness, Things that last, Everything can be anything, Gypsies, Happyland, Black Magic Woman, The World Is Where You Stop, and has co-illustrated over a dozen collective works. He has held numerous individual exhibitions in the USA, Canada, Israel, Japan, Brazil, Madagascar, the Netherlands, Germany, France, Italy, Indonesia, Bulgaria, and Poland. Tomasz is the recipient of many Polish and international awards for photography. For over thirty years he has been a regular contributor to National Geographic Magazine USA in which eighteen of his photo essays have been published. Tomasz has taught photography in Poland, the USA, Germany and Italy.
Tomasz Tomaszewski with a friend
HM: You have a fascinating background, rooted in the intellectual and somewhat austere environment of Warsaw. Could you share how your upbringing influenced your educational and career choices?
TT: Absolutely. Growing up in Warsaw, within a family deeply embedded in the Polish intelligentsia, set a certain trajectory. There was an abundance of expectations regarding intellect and knowledge, albeit with scant financial resources. Post-high school, my father imparted a crucial lesson about our restricted freedoms within the country, contrasted by the absolute freedom we enjoyed at home. This dichotomy shaped my academic pursuits; he advocated for fields that stretch the mind—physics or philosophy—as he saw other disciplines as mere vocational training, something to be tackled later.
HM: And how did this advice play into your transition from physics to the arts?
TT: My father’s insistence on integrating art into my life was pivotal. He saw art as essential, a supplement to the rigors of scientific study, emphasizing its role in preserving our capacity for wonder—much like Odysseus's varied adventures. This blend of structured scientific training and the boundless realms of art equipped me with a unique lens to view the world, one that balances precision with aesthetic sensitivity. Art is a necessary supplement to knowledge, he said, and its component, beauty, allows us to express what we cannot express otherwise using knowledge.
USA
HM: You mentioned a profound experience at the Uffizi Gallery. Could you elaborate on how that influenced your perspective on life and art?
TT: Every civilized man has two homelands. One’s own and Italy. Visiting the Uffizi was transformative. It wasn't just about the art itself but about understanding life's priorities and recognizing one's place in the world. Experiencing Stendhal Syndrome firsthand—where the sheer beauty overwhelms you—was enlightening. It underscored the importance of beauty in art, which transcends mere knowledge and speaks directly to the soul.
HM: Transitioning to a broader stage, how did your personal and professional life evolve with the political changes in Poland?
TT: The oppressive nature of the communist regime was stifling. Inspired by a desire to challenge and perhaps accelerate the demise of this system, I engaged deeply with documentary photography and joined the Solidarity Movement. My wife’s role as a journalist and later as the Minister of Information in the post-communist government underscored our commitment to societal change. These experiences not only reshaped our lives but also redefined our roles within a transitioning Poland.
HM: Those political changes also have allowed you to finally travel abroad. Could you share with us a memorable story from your first trip to the USA in the 80’s?
TT: Picture this: I'm strolling through New Orleans when I spot an incredibly striking couple. The woman, dressed in a devil outfit complete with horns, and the man, exuding an undeniable charm. My English was quite limited at the time, so I approached them with a flurry of gestures, like a helicopter whirling its blades, and managed to ask if I could take their photo. They agreed graciously. After snapping a few intimate portraits, I asked for their names for my records. That's when the woman, half-jokingly, suggested the man should wear her outfit because "he's the real devil." To my astonishment, the man revealed he was David Duke, the infamous figure. Despite my initial cluelessness, his next declaration that he was the president of the Ku Klux Klan had me hastily excusing myself from the scene.
USA
HM: That’s quite a startling encounter! Did that experience affect you in any way?
TT: Profoundly. Just three weeks later, while driving south from Washington, I discovered from a local newspaper that Duke was running for President of the United States. I remember telling my wife, who’s a journalist, that we had stumbled upon a significant story. This led to another bizarre twist where Duke, attempting to charm us into staying in the U.S., offered us substantial financial incentives and even made unsettling comments about our daughter’s appearance. He even showed me a private collection of controversial literature, which I discreetly photographed.
HM: What happened with those photographs?
TT: Well, one photo of him in front of a painting of the Klan's founder went on to cause quite a stir. Before publishing, we sent Duke a proof, which he confirmed as accurate, not realizing the implications. His approval gave us the green light to publish without fear of legal repercussions.
National Geographic (January 1988)
HM: Your travels seem filled with unexpected turns. Any other intense moments you can share?
TT: Definitely. On another occasion, I found myself in Detroit, where I impulsively explored a desolate yet beautiful neighborhood. There, in the middle of a crossroad, a group was burning a tire. Approaching them, I used a local phrase to break the ice (I’m getting down with my bad self), which initially shocked them but eventually led them to allow me to take their photos. Another time, in a bar in the South Bronx, after the music abruptly stopped upon my entry, I managed to diffuse the tension by expressing genuine admiration for the place and asking if I could photograph the patrons. Surprisingly, they agreed.
HM: Your stories of traveling across America and beyond are truly captivating. It sounds like each state almost feels like its own country. Could you share more about those stark contrasts you’ve encountered?
TT: America is vast, more a continent than a country in its diversity. Traveling from one state to another often feels like crossing international borders. Each region has its own distinct flavor. For instance, standing on the edge of the Grand Canyon, I felt an almost spiritual connection to the landscape—utterly vast and serene. It’s moments like these that profoundly change your perspective. I make it a point to visit the States often, usually starting in New York to recharge. The energy there is palpable, a constant buzz of creativity and ambition.
USA
HM: You’ve had a long-standing relationship with National Geographic. Could you tell us about one of your memorable assignments with them?
TT: One story that stands out involved a meticulous fact-checking incident with National Geographic that taught me the profound seriousness with which they approach their content. My wife and I were covering Lewellen, Nebraska, and in our notes, we described it whimsically as a town of "four crossing roads"—a direct translation of a Polish expression meaning a tiny place. However, National Geographic called us at 2 AM to correct us; it actually had just two crossing roads! This rigorous attention to detail, even for such a small fact, is something that greatly impacted me. It exemplified their commitment to accuracy, something I’ve always admired.
USA
HM: That precision must have really shaped your work. Speaking of different places, is there another country that left a significant mark on you?
TT: There are many but let me tell you about the Tonga Islands in the South Pacific. This place, never invaded or touched by external strife, resonates with a peace and simplicity that’s rare. One morning, lying on a wall on the main street of the archipelago’s largest island, I was struck by the sound of genuine, uninhibited laughter every few seconds. It was a reminder of the sheer joy that can exist in life. Moreover, Tonga’s cultural encounters, like the attempts to introduce basketball by well-meaning outsiders who didn’t realize that locals weren’t interested in this sport, were profoundly educational. It highlighted the importance of truly understanding a culture rather than imposing external values.
HM: Throughout your journeys, you’ve encountered a wide range of human conditions and emotions. Is there a particular moment that stands out as particularly transformative for you, personally or professionally?
TT: There are many, but one that stands out happened while I was photographing in 1984, I photographed an elderly Jewish couple in their quaint home in a small village in eastern Poland. Each time I clicked the shutter, Sara, the wife, would instinctively rest her head on Rafael's shoulder—her husband. This tender act repeated itself through eight frames, encapsulating a moment of profound affection and a gesture deeply characteristic of their bond. The photograph later graced the cover of my book, "Remnants: The Last Jews of Poland." The impact of this image reached beyond my expectations when, years later, a woman in Washington contacted me after spotting the book in a Montreal bookstore. She recognized the gesture as that of her long-lost sister, from whom she had been separated during the Second World War. Astonishingly, Sara had mirrored this exact pose in her wedding photo, reinforcing the timeless power of photography to connect lives. This serendipitous discovery led to an emotional reunion between the sisters, a testament to the profound connections and life-altering revelations that photography can foster.
HM: Your encounters seem almost surreal, filled with unexpected twists. How do you navigate these spontaneous situations to capture the essence of the moment without compromising your safety or integrity?
TT: It’s all about instinct and respect. When I’m in these spontaneous situations, I try to read the street quickly. I approach every interaction with respect and genuine curiosity. People can feel when you’re sincere, and that often opens doors, even in the most unexpected places. Of course, I stay aware of my surroundings and always have an exit strategy. My camera is my tool, not just for capturing images but for bridging gaps between different worlds. Honestly, it’s about staying open and adaptable. I learn a bit of the local slang, cultural tidbits, and always approach with respect and curiosity. No matter how tense a situation might seem, I’ve found that a sincere gesture or a friendly word can open doors and even make a few friends along the way.
USA
HM: Your photography has often been described as a tool for social change. How do you balance artistic expression with the imperative to document reality?
TT: I see photography as a unique mode of thinking. To soar and find fulfillment—much like birds—we require two wings: thought and humanity. Photography transcends mere observation; it actively interprets reality, capturing truths and presenting them in a universally resonant manner. Each photograph distills a moment to its essence, shedding any extraneous elements that might dilute its impact. The world isn’t simply divided into beauty and ugliness; photography invites us to discover the nuances in between. My approach emphasizes authenticity from the instant I look through the lens, eschewing manipulation in post-processing to preserve the genuine essence captured in each shot.
HM: Your work often exposes the stark realities of life. How do you handle the ethical dimensions of photographing people in vulnerable situations?
TT: Ethical considerations are at the heart of my work. I strive to approach every subject with dignity and to tell their stories without exploitation. It’s about consent, respect, and intention. I make sure those I photograph understand how their images will be used, and I often share the outcomes with them if possible. It’s a practice of mutual respect and, whenever possible, a collaborative process.
CUBA
HM: It sounds like these experiences have profoundly shaped your approach to photography. How do you prepare for such diverse assignments?
TT: Preparation is key. I dive deep into research to understand not just the landscape but the culture and the people. For instance, in Tonga, understanding their welcoming yet non-confrontational nature helped me navigate my interactions, particularly when they presented me with local delicacies that were, let’s say, challenging to accept! Each place has its own story, and my job is to convey that story through images, respecting the essence of each location while bringing my own perspective to it.
ROMANIA
HM: So, would you say that capturing reality involves a bit of romanticization?
TT: Absolutely. While photography aims to document reality, it inevitably romanticizes it. A photo can evoke emotions and convey a narrative in ways that pure observation cannot. This is because photography is selective—it frames a specific perspective, excludes as much as it includes. This isn't a flaw; it's a feature of the medium that allows photographers to highlight truths that might otherwise remain unseen.
HM: You've spoken eloquently about the abstract nature of photography compared to poetry. Can you elaborate on how photography acts as a form of communication that might even surpass the written word?
TT: Photography, unlike traditional narrative forms, operates in a realm where silence is as powerful as any word. A photograph doesn't push a linear narrative upon you but invites you into a space where you can engage, reflect, and even lose yourself in contemplation. This is in stark contrast to cinema or literature where the sequence and pace are dictated, leaving less room for personal interpretation. Photography’s power lies in its ability to freeze a moment and in that stillness, unlike the moving images of a film, it allows the viewer to observe and interpret at their own pace. The silent dialogue between the viewer and the image can be profoundly intimate, making the medium uniquely powerful.
ROMANIA
HM: And how does this perspective on photography influence your work, particularly in how you choose and present your subjects?
TT: My approach is deeply rooted in the belief that every photograph should speak to something truthful and unspoken within us. Whether it's capturing the mundane or the majestic, each image must transcend mere appearance. This philosophy guides me not just in selecting subjects but in how I frame each shot. I strive to strip down to the essence of the subject, removing any superfluous elements that might cloud its impact. This ‘reductionist’ approach isn’t about simplification; rather, it’s about homing in on the core of the subject, revealing its inherent beauty or truth in a way that might not be immediately obvious. We can scientifically say that beauty is a component of the Platonic triad, so, it is a virtue, a desire that is not worth giving up.
KENYA
HM: You've mentioned that the true essence of a photograph comes from its authenticity and its ability to convey beauty. How do you reconcile this with the subjective nature of what viewers might perceive as beautiful or truthful?
TT: That's a profound challenge and speaks to the heart of what makes photography so compelling. I believe that while beauty and truth are subjective, they resonate on a universal level when depicted with sincerity. At the beginning, photography shows what is interesting and noteworthy, but it can also suggest that what it shows is worthy of attention, and then just anything becomes a refined peak of value. As photographers, our role is to be as authentic and transparent as possible, allowing our personal vision to guide the way we capture and present our subjects. However, the interpretation ultimately belongs to the viewer. Each person brings their life experiences, their values, and their emotions to the images they see. This interaction between the image and the audience is what keeps the art form alive and dynamic.
KENYA
HM: Given your focus on deeper truths, how do you choose your subjects or projects? What draws you to a particular theme or story?
TT: My subjects often choose me, in a way. I'm drawn to stories that resonate with my concerns about the world—themes of injustice, human resilience, forgotten communities, or the sheer complexity of human emotions. Each project starts with a curiosity, a question I can't shake off, or a scene that stays with me long after I've encountered it. Then it becomes about exploring these themes through the lens, finding the right moments that feel both intimate and universal.
HM: It seems that your photography journey intertwines deeply with your views on the modern world. How do you balance these philosophical views with the artistic nature of your work?
TT: Well, that’s the crux of what I do. My philosophy informs my art. The way I see the world—its pain, its beauty, and its complexity—shapes how I capture images. I'm not just documenting moments; I'm trying to unearth deeper truths, present contradictions, and evoke questions through my work. It’s about more than just aesthetics; it’s about provoking thought, conveying emotions, and sometimes, unsettling the viewer to elicit a deeper understanding or reaction.
NEPAL
HM: Reflecting on your vast experience, how have you seen your work impact viewers or even the subjects you photograph?
TT: The most profound impacts are often personal and subdued. I close my eyes, allowing the details to stir my emotions and consciousness. For a photograph to truly resonate, it must capture the imagination—this means embracing ambiguity, weaving emotion throughout, and incorporating elements of surprise. The meaning of a photograph is constructed in the mind of the viewer; it is not inherent in the image itself. Sometimes, it's a viewer who shares how a photograph altered their perspective or provided a glimpse into a life far removed from their own. Other times, it's a subject who feels recognized or understood through my work—a validation that their story is important. These moments may seem minor on a global scale, yet they are profoundly meaningful to me. They underscore the significant impact and responsibility I hold as a photographer.
CUBA
HM: Looking to the future, how do you see the evolution of your photography? Are there new themes or projects you’re eager to explore?
TT: I’m increasingly interested in environmental and conservation issues, especially as they intersect with human stories. Our relationship with the environment is one of the most critical stories of our time. I want to explore how communities around the world are adapting to changes, whether they’re climate-driven, technological, or social. Photography has the power to make these often-abstract concepts visceral and immediate, and I think there’s a lot of potential there to make a meaningful impact.
HM: And in all these travels, what continues to drive you? What’s next on your list?
TT: The drive is the endless diversity of the world—the myriad ways in which life unfolds in different corners. Every new place offers a fresh tableau for learning and storytelling. As for what’s next, I’m always drawn to regions that challenge the narrative we’re accustomed to. Whether it's exploring further into the hidden corners of the Pacific islands or capturing the burgeoning street cultures in urban settings, each assignment is a new chapter in the ongoing story of our world. My work is about bringing these stories to light, encouraging understanding and appreciation for the diversity and beauty of our planet.
CUBA
HM: Considering your extensive experience, particularly in judging competitions, how do you see the evolution of photography over the years?
TT: Photography has evolved dramatically, especially with the advent of digital technologies. What fascinates me is how each generation redefines what photography means to them, influenced by cultural, social, and technological changes. Observing these shifts is like watching a living history of human thought and aesthetics. Even though the medium is relatively young, it’s incredibly agile, adapting and morphing as it absorbs new influences and technologies.
HM: With the ubiquity of digital photography and the internet, how do you see the standards of the medium?
TT: The digital age has democratized photography, but it has also inundated us with mediocrity. The challenge now is not just to take photos but to imbue them with meaning and context. This requires understanding the history and theory of photography, not just mastering the technology. True impact comes from conveying deeper insights through the lens, crafting images that tell stories and challenge perceptions.
POLAND
HM: That brings us to the future of photography. How do you see it evolving?
TT: The future of photography is uncertain. As digital technologies evolve, so too will photography. The medium will survive, but its impact will depend on how it's wielded. We're at a juncture where photography can either continue to enrich human understanding or devolve into a tool for superficial snapshots. My hope lies in the next generation of photographers who see beyond the lens and use their art to bridge divides and illuminate truths.
USA
HM: You've talked about the power of photography to communicate and to challenge. Can you expand on how you see the role of the photographer in today’s fast-paced, image-saturated world?
TT: Today, everyone with a smartphone is a photographer, and the volume of images we consume daily is overwhelming. In this flood, the role of the photographer—especially those committed to the craft—is to cut through the noise and offer something that stops people in their tracks. It's about crafting stories that need to be told, not just those that are easy on the eyes. This means taking a slower, more deliberate approach—thinking deeply about each frame, what it represents, and what it communicates. Photography transcends merely capturing the world; it's fundamentally about interpreting it. With much of the world already vividly depicted, the true art lies in our interpretation. The most impactful photographs are those shrouded in secrets and ambiguity—these images serve as nourishment for the viewer's imagination. This is particularly true in the realm of digital photography, where the clarity and precision can sometimes make viewing effortless, leaving little room for imaginative engagement. It's the photos that challenge us to look deeper, those that don't reveal everything at first glance, that resonate the most profoundly.
HM: What do you believe is the role of a photographer in today’s world?
TT: It's not essential for a photographer to be traditionally smart, but it's crucial to have something meaningful to say. In photography, effectiveness is paramount—it should provoke thought and stem from a place of authenticity within ourselves. Today's emphasis often falls on possessing rather than being. Yet, in an age focused on acquisition, photographers must champion the essence of truth and beauty. We possess the unique ability to unveil the world in ways that might otherwise go unnoticed. Through our lenses, even the most mundane objects are transformed, gaining universal significance and challenging viewers to see their environment with fresh eyes. My mission is to reveal the inherent elegance and simplicity of our surroundings, creating images that not only document but also interpret and enhance reality, fostering a deeper connection with the world around us.
USA
HM: What do you think is the most important trait for a photographer to develop?
TT: Beyond mastering technical skills, curiosity and a willingness to continually learn and adapt are essential. The field of photography is in constant flux, with yesterday's relevancies often fading into today's obsolescence. A successful photographer not only keeps pace with new techniques but also stays attuned to shifting global trends, using these insights to enrich and guide their work. Motivation, too, plays a critical role. While some may be driven by the pursuit of fame or success, true inspiration should transcend such aspirations. It's preferable to be asked why you don't yet have a monument, rather than why you do—a testament to pursuing art for passion rather than acclaim.
HM: In light of these challenges, what are you doing to contribute to the next generation of photographers?
TT: I've established a private academy that focuses not just on teaching technical skills but also on developing the critical and ethical capacities of photographers. We discuss everything from composition to the philosophical implications of imagery. It's about training photographers to think critically about what they capture and how it represents their subjects. We also emphasize the importance of printed photos because they offer a different perspective from digital displays, one that's more tangible and reflective.
PHILIPPINES
HM: Your school and courses seem to be filling a unique niche in photography education. Could you expand a bit on how your approach is different and what inspired you to start this academy?
TT: Indeed, there seems to be a gap in traditional education when it comes to truly understanding photographs—not just their composition but their deeper meaning and the decision-making process behind editing. In many photography courses, the focus is heavily on technique and composition, as taught in fine arts academies. However, there's less emphasis on the narrative and editorial skills needed to choose the right picture that conveys the intended message or emotion. That's where my academy comes in. We focus on teaching photographers how to discern the narrative quality of their work, which is crucial when you need to decide which of two pictures tells the story better or is more visually compelling. This is not just about technical skills but developing a critical eye for what makes a photograph truly resonate.
HM: It seems you're fostering a comprehensive approach to photography. How do your students respond to this method?
TT: The response has been overwhelmingly positive. There's a hunger for this kind of holistic education in photography that goes beyond just the technical aspects. My students appreciate learning how to read and interpret images, not just create them. They're learning to see photography as a powerful tool for communication and change, not just as a means to an end.
INDIA
HM: That sounds incredibly valuable. How do you structure your courses to foster these skills?
TT: I offer a series of intensive workshops where each session focuses on a different aspect of photography, such as color, portraiture, or the art of storytelling through images. A significant part of our time is dedicated to the critical evaluation of photographs. We use both digital projections and printed photos to teach students the difference in perception between these mediums. For instance, at National Geographic, we never made final edits based on digital screens alone; we reviewed physical prints on walls to better gauge the impact of each image. This practice helps in understanding how images are perceived differently and can lead to more informed editing decisions.
POLAND
USA
HM: And how do you teach your students to make these tough editing choices?
TT: It's about developing an ability to detach from the personal experiences behind each photo and judge the image strictly on its own merits. Photographers often get attached to their work because they remember the effort it took to capture a shot, but that doesn't always translate to a strong photograph. In my workshops, we drill down into the essence of what makes a photo compelling. This includes understanding the visual language of photography, how images convey stories, and how they engage the viewer emotionally and intellectually.
HM: It sounds like your approach is quite hands-on and personalized. Can you share how you guide your students through this learning process?
TT: Absolutely. One of the key exercises we do involves having students bring in their own photos, and then we go through an editing session together. This isn’t just about critiquing their work; it’s about helping them see their own images from the perspective of an objective observer. We discuss what works, what doesn’t, and why. It’s about challenging them to look beyond the obvious and explore deeper meanings and implications of their images.
INDIA
HM: How do you keep your curriculum and teaching methods updated with the evolving landscape of photography?
TT: We continuously incorporate new learning from the field, feedback from alumni, and developments in technology and visual arts. I also stay actively involved in the professional photography community, participating in panels, reviewing portfolios, and keeping up with academic research on visual perception and communication. This ongoing engagement ensures our courses remain relevant and our teaching methods effective.
HM: As a mentor and educator, how do you impart these insights to young photographers, especially in a world saturated with images?
TT: Education in photography is less about imparting a fixed body of knowledge and more about nurturing an ability to see and think critically about what one sees. I encourage my students to engage deeply with whatever they photograph, to look beyond the obvious, and to find the stories that are not being told. It’s about encouraging them to develop a personal voice that is both reflective and visionary. Moreover, I stress the importance of understanding the history and theory of photography, as this knowledge provides a foundation upon which they can build their unique perspective.
INDIA
HM: What advice would you offer to emerging photographers who are drawn to the kind of impactful, narrative-driven work that you do?
TT: Choosing to become a professional photographer today might not require madness, but a touch of it could certainly help. Photography has evolved from a specialized profession to a widely accessible activity. My advice is straightforward: you need to be more than just interested—you should be obsessed, curious, compassionate, and dedicated. Immerse yourself in learning, not only through the lens but also through literature, history, and personal experiences. Approach your subjects with the intent to understand their realities rather than imposing your own narrative. Commit to telling the stories that matter and use your camera to bring these narratives to life in a way that resonates with others. It’s about more than just having a vision; it’s about sharing that vision in a manner that enlightens and inspires
Young photographers often look for magic formulas, but the truth is, none exist. If I were to offer any advice, it would be to embrace risk. It is all about doing what you shouldn’t. For that you need to be brave. We should unlearn caution. Real growth comes from stepping beyond your comfort zone, from questioning the status quo and exploring beneath the surface of what is easily visible. In the context of photography, this means going deeper than the observable, reaching into the narratives that aren't immediately apparent. Capturing these moments authentically requires a boldness to confront and document the realities of the world, no matter how challenging they may be.
INDIA
HM: What do you think is the most important trait for a photographer to develop?
TT: I'd say it's curiosity and the willingness to constantly learn and adapt. The field of photography is always evolving, and what was relevant a decade ago might not be as pertinent today. A successful photographer needs to be proactive in learning new techniques and understanding changing trends, not just in photography but in the world at large, as this will inform and inspire their work.
Photography is a powerful form of art and communication, but it’s also highly competitive. It requires more than just the ability to take good pictures; it requires a vision, a voice, and something unique to say. I always encourage you to focus on what moves you, to develop your unique perspective, and to convey stories that perhaps only you can tell. And of course, never stop learning. What I mean is that knowledge allows us to see the world in a more interesting, more complex way, and that a personal, original signature seems to be reserved for intelligent, knowledgeable people.
My advice is to learn to see—not just look. Understand the stories behind the faces and places you capture. Be patient and persistent, because meaningful photography is not about instant gratification but about deep engagement with your subject. Also, read widely, understand history, philosophy, art—these will enrich your work in unexpected ways. And always remember, your unique perspective is your strongest asset; nurture it, and let it guide your work.
INDIA
HM: And finally, what would you say is the most important lesson you hope your students take away from your teachings?
TT: Beyond technical prowess and aesthetic discernment, I hope to instill in my students the courage to stay true to their vision. Photography extends beyond merely documenting reality; it involves illuminating the overlooked and shaping it into forms that speak volumes. It's about transforming the mundane into the magnificent, encouraging viewers to perceive the world with fresh eyes. In my view, the most compelling photographs present familiar elements in clear, comprehensible forms, yet their meanings remain ambiguous, non-obvious, and multi-dimensional. This is the standard we should aspire to reach. This challenge is daunting, yet it is also uniquely captivating because the only constant in photography is its ever-changing nature.
INDIA
Tomasz Tomaszewski, and his latest publication: The World Is Where You Stop.
This exceptional book is a critical look at our reality, in which good and evil, euphoria and suffering, wealth and poverty, virtue and debauchery coexist side by side. The book is a cross-sectional presentation of Tomasz Tomaszewski's work and contains 150 photographs, many of them never published before.
The shocking juxtapositions of photographs encourage reflection on the condition of modern man and the world in which Tomasz both lives and creates. Sometimes the frames emanate delight at the beauty and power of nature, other times his all-encompassing fear or contemplation of our humanity are visible.
