m̌ ḫ's photos

I conducted an experiment where I mounted a large format lens onto a digital camera, as shown in the photo. The camera is a Nikon Df, and I used an adapter to attach the large format lens to the camera body. This setup allowed me to explore the unique optical characteristics of large format glass on a modern digital sensor. The process involved carefully aligning the lens and ensuring a secure fit with the adapter. One of the main challenges was achieving proper focus, as large format lenses are not designed for digital cameras and often require precise manual adjustment. Additionally, the lens projects a much larger image circle than the camera sensor, resulting in a cropped field of view and a distinctive rendering style. This experiment gave me the opportunity to capture images with a unique depth of field and bokeh, combining the classic qualities of large format optics with the convenience and immediacy of digital photography. The photo above documents my custom setup and the successful integration of these two different photographic technologies.

In the hush of a silver morning, the world is wrapped in a shroud of mist. Two figures drift apart on a leaf-strewn path—one fading into the pale embrace of fog, the other pausing, hand raised in silent farewell. Shadows of trees stand like silent sentinels, their outlines softened by the veil of dew. The air is thick with memory and distance, every step swallowed by the quiet, every breath a ghost in the cold. Here, time slows, and the heart lingers between presence and absence, between the warmth of a wave and the chill of letting go.

Capturing a close-up nature photo with a vintage lens and soft bokeh is akin to weaving a poetic tapestry. The lens, imbued with the character of age, wraps the scene in a gentle, ethereal blur, reminiscent of a whispered secret. As light dances through the petals of a flower or the delicate curves of a leaf, it transforms into a soft, dreamy haze, evoking a sense of enchantment. The bokeh, like a soft caress, envelops the background, allowing the subject to emerge with clarity and grace, as if plucked from a dream. This vintage charm infuses the image with a timeless beauty, a testament to the magic of imperfection.

Perched atop Kamzík hill in Bratislava’s beautiful forest park, the Kamzík TV Tower is a striking landmark and the tallest structure in Slovakia. Built in the 1970s, its unique shape—often compared to a wine bottle—stands out against the lush greenery of the Little Carpathians. From the forest trails below, the tower rises gracefully above the trees, inviting curiosity and adventure. Visitors can take an elevator up to a rotating restaurant and observation deck, where breathtaking panoramic views stretch across Bratislava and even into neighboring countries on clear days. Whether you’re hiking through the peaceful woods or enjoying a meal high above the city, Kamzík Tower offers a perfect blend of nature, technology, and stunning scenery—a must-see spot for locals and tourists alike.

In Veľké Borové, a beautifully crafted wooden tower stands with traditional carved railings that reflect Slovak woodcraft heritage. These railings are not just decorative; they showcase local craftsmanship and cultural identity. On sunny days, hundreds of flies gather on the railing, drawn to the warmth. The wood absorbs and radiates heat, making it an ideal spot for them to bask. The carved features provide shelter, protecting them from wind and predators. It’s a natural and harmless phenomenon that adds a unique element to the scene.

From the foothills above the Danube, I watched the sky unfurl a tapestry of clouds, each tuft drifting west to east, just like the river beneath. The Danube divided Austria and Slovakia, but above, the clouds cared nothing for borders. Their patterns rippled across the sky, echoing the river’s flow, while bare branches below reached upward, tracing invisible lines of connection. In this moment, the beholder sensed the land’s unity—how sky, water, and earth wove together beyond human divisions. The clouds, wild and free, belonged to both sides, reminding all who looked up that nature’s boundaries were softer, more forgiving. Standing there, I felt the quiet truth: the river might divide, but the sky forever unites.

As winter loosens its grip on the Carpathians, a delicate transformation begins. Wild cherry trees, scattered across hillsides and forest fringes, awaken in a breathtaking blush of white. Their blossoms unfurl like soft, fleeting clouds against the deepening green of the ancient mountains, a fragile counterpoint to the rugged landscape. Standing beneath their boughs feels like stepping into a whispered secret, the air sweet with the subtle promise of spring. This ephemeral spectacle paints the slopes with a transient, romantic beauty, a reminder that even in the wildest places, moments of pure, gentle enchantment arrive on the breeze, celebrating nature's quiet renewal before the petals drift away like snow.

The morning after the Holi festival, Jaisalmer’s streets are washed in sharp sunlight, the golden sandstone glowing against the clear desert sky. The city is quieter now, the echoes of celebration replaced by the steady rhythms of daily life. On a cracked stone path, a cow stands in the half-shadow, its horns and gentle features illuminated by the harsh light. Cows like this one are a constant presence in Jaisalmer, moving freely through the narrow lanes, pausing in doorways or resting in the shade. Locals pass by, some offering a gentle pat or a handful of feed, honoring the animal’s place in the city’s traditions. The grainy black-and-white texture of the scene emphasizes the timelessness of this relationship—where animal and city are deeply intertwined, and where the spirit of Jaisalmer endures in the quiet moments after the festivities have faded.

From humble community beginnings in 1970, Durga Puja celebrations have grown into an elaborate affair for Delhi's Bengalis who spare no effort in celebrating their biggest festival with flair in CR Park. Durga Puja is the biggest annual Hindu festival celebrated by Bengalis, originating from the Indian state of West Bengal. In Delhi, a neighborhood called Chittaranjan Park or CR Park is home to a large Bengali migrant community, who celebrate Durga Puja on a grand scale here every year. The festival marks the victory of goddess Durga over the evil buffalo demon Mahishasura after a 9 day battle, symbolizing the triumph of good over evil. Huge temporary structures called pandals are set up with large clay idols of goddess Durga. Each day has special rituals and the last day culminates in immersing the idols in water. The celebrations in CR Park bring the look and feel of Durga Puja in Kolkata to Delhi - from themed decorative pandals, cultural events like music and dance performances, crowds thronging for pandal hopping, to lip-smacking Bengali food stalls.

Slovakia has one of the most comprehensive hiking trail networks in Europe, with over 14,000 km of marked trails. This trail marking system was added to Slovakia's UNESCO Representative List of Intangible Cultural Heritage in 2022. The marking system uses colored stripes - one red, blue, green or yellow stripe between two white stripes. The stripes are painted on trees, stones, etc to mark the trails. The color of the stripe denotes the type/difficulty of the trail: Red marks the most important and long distance trails like the European E8 trail crossing Slovakia. Blue, green and yellow mark other trails based on length and difficulty, not strictly ranked.

The 1960s brought winds of cultural and social change around the world, which also reached communist Czechoslovakia. While restrictions were loosening during the Prague Spring of 1968, shorter skirts and fashions from the West challenged traditional norms. Younger Czechs and Slovaks enthusiastically embraced youthful styles like mini skirts paired with boots, viewing them as freedoms long denied under communist rule. However, shorter skirts tended to be worn only privately or when socializing, remaining largely unacceptable in schools, workplaces or formal settings. State authorities and older generations saw them as symbols of Western decadence and individualism, clashing with the regime’s values of modesty and conformity. So while avantgarde designers like Mary Quant inspired Czech/Slovak fashion followers, uptake of radically short skirts was generally more underground. Most women navigated a delicate balance, cautiously adopting modern fashion elements from the West while paying lip service to communist dress codes and sensibilities in public life. Shorter skirts may have represented liberty for youth cultures, but came with an implicit risk of censure for being perceived as anti-socialist, dissident behaviors. The complex politics around fashion leave the popularity of 1960s mini skirts in Czechoslovakia is difficult to fully assess from a modern-day vantage point.

The geometry of the parliament building centers around circles and spheres, with the main assembly chamber being circular. This circularity emanates out in concentric rings to the other eight halls. Squares and triangles also feature prominently in the architectural details. Overall, simplicity of form and purity of geometry define the building's style.

The Bangladesh Parliament Building rises from the earth like a monument to the spirit of Bangladesh, its geometric forms evoking simplicity and order amidst nature's complexity. Known as the Jatiya Sangsad Bhaban, or National Assembly Building, this landmark encapsulates Bangladesh's national identity and democratic values. Originally conceived by the Pakistani government in 1959 and designed by the renowned American architect Louis Kahn in 1962, its construction was interrupted by Bangladesh's 1971 war of independence. Once completed in 1982, the building transcended its initial purpose as a monument, becoming a beacon of democracy. This architectural gem integrates modernist vision with Bengali vernacular, distinguishing it from other modernist structures. More than a government complex, it poetically conveys the nation's resilience, its design thoughtfully attuned to local contexts and culture. The building's completion marked a pivotal moment, emblematising Bangladesh's transition from Pakistani rule to self-governance.

Like a painting come to life, the view from Vlkolínec captures the essence of a Slovakian winter scene. The forests of the Veľká Fatra mountains are capped with strokes of white powder, the early snowfall dusting the peaks in the distance. Below, nestled in the foothills, lies a village lost in time. The winding cobblestone streets and weathered log cabins of Vlkolínec seem untouched by modern life. Situated 718 meters high on the slopes of the Carpathians, winters arrive early here, transforming the traditional homes into a winter wonderland long before the lower valleys see snow. The few residents go about their days, hardened to the cold and accustom to the hibernating tourism of the off-season. While the summer months attract more visitors with quaint shops, folk dances and festivals, the village holds a certain magic in the colder days. The snow-laden roofs, smoke billowing from stone chimneys, and the crunch of frost underfoot immerses you in winter as it was for centuries past. Vlkolínec remains an open-air folk museum, where the onset of winter reveals as much preserved beauty as the height of summer.

The UFO Tower in Bratislava, Slovakia is an iconic landmark situated atop the Bridge of the Slovak National Uprising (Most SNP). This unique flying saucer-shaped structure was constructed between 1967 and 1972 based on designs by architects J. Lacko and A. Tesár. Perched 95m above the Danube River, the 7th largest suspension bridge in the world, the UFO Tower has become an integral part of the Bratislava skyline. Originally opened in the 1970s and voted Building of the Century in Slovakia in 2001, the tower underwent renovations in 2005. A restaurant with 80 seats, two modern bars with capacity for 60 guests, and an observation deck with panoramic views up to 100km were added. The UFO Tower is now a member of the World Federation of Great Towers, recognised internationally as a symbol of Bratislava. The iconic tower can be spotted in the background of every postcard, an unmistakable fixture in the capital's urban landscape.

Stalin was responsible for the death and suffering of millions through labour camps, starvation policies, executions, deportations of minorities, and suppressing the truth about his crimes. His rule as dictator of the Soviet Union was marked by extensive atrocities and horrors. Examples: 1. Stalin oversaw a brutal system of labor camps known as the Gulag, where millions perished. [1] 2. Stalin pursued ruthless policies like collectivization that led to famine and starvation of millions of people. One article notes his "ill-conceived and often purposely cruel policies" caused millions to starve.[3] The famine in Ukraine in 1932-1933 known as the Holodomor killed 4-10 million people.[3] 3. Stalin ordered the execution of hundreds of thousands of people, including an event where he personally approved death sentences for over 3,000 people in one day.[5] In total, over 20 million people died under Stalin's rule.[2] 4. Stalin enacted atrocities against minority groups like mass deportations of certain ethnic groups and prisoners of war to labor camps where many died.[4] These included Crimean Tatars, Chechens, Poles, and others. 5. Stalin spread propaganda to cover up his crimes and had journalists and historians who revealed the extent of his atrocities discredited or killed. Gareth Jones exposed the Ukranian famine and was later killed, while journalist Walter Duranty won a Pulitzer Prize for denying the famine.[3] Citations: [1] history.howstuffworks.com/historical-figures/joseph-stalin.htm [2] www.chicagotribune.com/news/ct-xpm-1997-07-25-9707250034-story.html [3] fee.org/articles/the-hero-of-the-holodomor-who-exposed-stalin-s-horrors-and-paid-with-his-life [4] en.wikipedia.org/wiki/Soviet_war_crimes [5] www.bbc.com/news/magazine-33788518

Credits: Hero

In 1999, bus travel in Georgia was quite an adventure. Unlike the typical scenario where you would switch buses at a designated bus station, in Georgia, you would disembark at any point along the route and wait for the next bus. Surprisingly, this unconventional method worked fairly well.