No sooner had the warm liquid mixed with the crumbs touched my palate than a shudder ran through me and I stopped, intent upon the extraordinary thing that was happening to me. An exquisite pleasure had invaded my senses, something isolated, detached, with no suggestion of its origin. And at once the vicissitudes of life had become indifferent to me, its disasters innocuous, its brevity illusory – this new sensation having had on me the effect which love has of filling me with a precious essence; or rather this essence was not in me it was me. … Whence did it come? What did it mean? How could I seize and apprehend it? … And suddenly the memory revealed itself. The taste was that of the little piece of madeleine which on Sunday mornings at Combray (because on those mornings I did not go out before mass), when I went to say good morning to her in her bedroom, my aunt Léonie used to give me, dipping it first in her own cup of tea or tisane. The sight of the little madeleine had recalled nothing to my mind before I tasted it. And all from my cup of tea.

— Marcel Proust, In Search of Lost Time

We take pictures because something right then and there in that frame triggers the feeling of an older memory. We take pictures so that we can keep the memory of us having that feeling forever. Maybe the only pictures worth being taken are madeleines.

Memory, unlike time (time as established convention), is not linear. A madeleine can, and do, occasionally, recall feelings linked to things not yet happened. Also, memory is not limited to personal experience. As C. G. Jung put it long time ago, we do own the memory of our entire species – therefore any picture can be a madeleine at some point or to someone else than its author, as it’s less about the image itself and more about the hidden reason for we connect to it sub/unconsciously. If madeleine, the picture enables us to find, through something deeply personal such as a specific memory, the essence of humanity within us.

We take pictures so that we last, so that we don’t die. We don’t know nor believe that there is no death. But the right picture could teach that to us. The right picture could give us a glimpse of our endlessness.

That right picture, most of us never manage to take.


Hello Readers!

It’s been a very challenging year, as I’ve become involved in a personal project – of great importance, but hardly related to photography. The project is, obviously, not done and will also take me the rest of my life to complete, therefore I can only hope that someday, photography will find a way to get included in it. Until that day, I invite you to take a closer look at my already published images and leave you with this extensive list of projects and series here on the Journal. Of these series, some might update, but most of them are now discontinued.

Depending on the time and automatic publishing at hand, some recycling activity might happen on the Journal in the future, so keep posted if you want to see older, underpublished work. My Instagram @mishuvass may take over at some point. Also, a website refinement – because less is more, isn’t it? – is taken into consideration. All of these, of course, if only.

On this (not so sad as it may seem) note, I wish all of you a very Happy New Year, filled with whatever means a lot to you.

So here’s the list:

Fine Art
Life in Mono
Empty Kingdom
Highway Moods
Industrial Aftermath
Footsteps: Following the Wanderer

Negative Island

Marvel Fields
Random Tales from Elkielands
Error Project 365

Minor Earth, Major Sky
I’m the Mountain

Human Intervention
The Others
Atypical Thirds
Moodful Romania
TIFF (Transilvania International Film Festival)
In for the Playlist

Old Fashioned Instant Magic

Bye-bye for now!


Now that it comes to an end, I can see my 2016 has been a good year, and I am grateful for it.
Personally, I dare to say, it brought a bit more wisdom, inner peace, and the courage to follow new paths.
Photographically, I’m happy it brought some encouraging results; the images specified below can be seen on my website in section Works.

* Black and White Spider Awards – Nomination in Fine Art – Tiny, Mud Volcanoes
* ND Awards – Honorable Mention in Fine Art/Abstract – Sublunary Christmas Spirit
* MIFA – Honorable Mention in Fine Art/Special Effects – Handeyes
* 10th Prix de la Photographie Paris – Honorable Mention in Fine Art/Digitally Enhanced – To Harvest the Moon
* 10th Prix de la Photographie Paris – 2nd Place/Silver in Professional Portraiture/Self-Portrait – Insane
* Px3 Prix de la Photographie Paris | RED – 1st Place/Gold in Fine Art & the Competition Grand Prize – Marvel Fields

*** Flight Exhibition, Photo Place Gallery, Middlebury, Vermont, USA – Led’s Childhood, since then on the wall of a NatGeo photographer I deeply admire.
*** Inclusion in LensCulture community.

I am now ready for whatever the next year will bring.
I know it’s going to be challenging under certain aspects, I also feel prepared for.

To all of you who showed me support: Thank You, it’s always been uplifting.
To all of the people that met me at some point in the past, in the real and virtual life, and to the followers of my photographic work: Thank You, the encounters proved meaningful.
I’m sending, All of You, my best thoughts and wishes for 2017. May peace and love reign in your hearts, and everywhere you are!

Happy New Year, everyone!

Yours truly,
Mishu Vass.