Martina Dankova

Born and living in Slovakia. Also known as Tia Danko.

I am in love with using natural light based on the high contrast and lot of darkness. For me there are no limits or rules in photography but I feel something very special, strong and mystical between black and white and that’s what I prefer. In fact, once somebody told me:
„If there is something you can not verbalize use photography.“
I think many photographers make their creations in this way. I do.
And what inspires me? Life. People around me. Dreams. Feelings. Senses.
Photographer Ansel Adams described it exactly:

„We don't make a photograph just with a camera,
we bring to the act of photography all the books we have read,
the movies we have seen,
the music we have heard,
the people we have loved.”

• • • • •

Reflections to her work:

When I was at fourth course of my degree in Fine arts, I had an Aesthetic subject. The teacher told us that, when we find something that is really beyond our cognitive aesthetic power, we feel fear. That's called sublime. And I think it's one of the very few times I've felt that. Your work is simply mezmerising. You've got the monochrome power of old photography masters, in my honest and humble opinion. I don't know if you're using analog or digital (I'd love to know, though) but the results have true power and emotion. I am completely shocked and afraid, as I told.
Please, keep on creating such beautiful mental landscapes for us. Your talent is priceless. Thank you for your gift, and for showing it to us.

Mario Sánchez Nevado, Spain

illustrator, graphic designer, photographer, writer, video producer and musician

I think you're the only photographer I've chosen to follow, by the way.
I typically see photography, especially lately, as nothing but a hipster's game; a way for anybody with the time and money to come-off as creative. There's a lot of shutterbugs out there doing the same shit and I generally regard the form in the same way I regard Manga & Anime style art; "ENOUGH ALREADY"
But you've got some really sweet shit.
Stuff I actually like.
Some stuff I actually love.
Some stuff I'd actually pay money for.
If I like it, the whole world should.
And if they don't ...never mind ... just be happy that some grouchy, knee-jerk-punker, cartoonist, lowbrow, closed-minded twerp on the internet likes it. Because I do.
You're everything that's missing in galleries, book covers, album sleeves and slick, glossy, coffee table photobooks these days.
Maybe that just sounds insulting and commercial, but the only reason I see "commercial" as being an insulting word is because the stuff that's the most commercially viable, these days, is the most disposable.
There was a lot of schlock in the 70's and 80's, but the good stuff transcended nostalgia. The good stuff from those decades has been able to be enjoyed over and over by younger generations.
The shit we see today doesn't contain any of the smallest seeds for any sort of a legacy. When it's gone, it will be gone.
Seeing your stuff hanging around, almost inconspicuously, in the ubiquitous cesspool of bullshit I have to wade through just to find anything good enough to make me shrug my shoulders and say "meh" is a ray of hope. You're better than acceptable. You're a high water mark. You're hand-smashed lemonade made with care, unmuddied by the overuse of sugar, endowed with the secrets of extra little things (like mint leaves or rose petals) without getting too pretentious - all served-up, in a sweaty glass, on the most disgustingly long and humid summer ever.
Lemonade in a New York City heatwave (both of which I have experienced together, so I can trust that I'm not just making an uneducated metaphor)
You are lemonade.
I almost-almost have a crush on you based on the merit of your work.
Thank you for having the only decent photography I've seen in years.

Joshua Jordan Nordyke, USA