Frustrated by the way aging in women is seen in Polish society, Wika Wójcikiewicz has set out to debunk the myth that life ends after 50.
“What is the difference between my body and a woman who’s 70 years old? It’s literally just wrinkles,” asserts the soon-to-be photography graduate Wika Wójcikiewicz.
Having spent a good part of the past six months on the road, Wika has travelled across her home country Poland to capture the inner lives of four women in their 70s who are not satisfied with being contained to an outdated view of what it means to get older.
Her finishing project for her bachelor’s in photography at London College of Communication “Life is not boring, you are”, goes beyond what is normally seen of “women of a certain age” and documents their colorful lives.
“Many young people consider age as something that we should be scared of, as something lonely, boring and full of limitations. We are told that our minds and bodies are the most beautiful in our 20s, hence we should enjoy it until we can, indicating one day it will finish,” she says, adding that older people often feel forgotten by society.
She was first inspired to investigate the way women in the later parts of their lives are seen after seeing a music video by Polish singer Maria Peszek featuring older women floating nude in a lake.
“It was shocking, because you don’t really see much nudity in my country because it’s Catholic.” She explains that nudity in general, but in particular by older women, is expected to be kept inside the house and not out in the open.
Not being able to get the video out of her head, Wika decided to reach out to some of the women who were featured in the clip to get to know more and propose a new project.
With two women from Peszek’s video and two from her own network deciding to join – each of them having different reasons for being in the project – she underlines that her focus was not necessarily to show nudity but to use photography as a tool to connect to another generation.
With her all-female crew, she has traveled around Poland, staying with the four women and getting to know their routines, quirks, and desires. Each shoot reflects an idea raised by one of the women who would co-direct the team to reimagine their living rooms, kitchens, and bedrooms as spaces that could embody mantras about freedom, confidence, and playfulness.
“It was just genuinely a fun time,” says the 22-year-old photographer.
Chapter one
As a stand-up comedian, Ms. Basia is used to the limelight. She admits that she loves the camera and constantly looks for lens-based opportunities and a chance to work with young people. Wika describes her as “fire”.
“Do we always need to find a bigger purpose? I am participating in this project because once an opportunity comes my way, I cannot say no to it,” says Ms. Basia.
“No one knows how much longer I will be on this planet. I want to enjoy it as much as possible. My happiness is the most important to me.”
Chapter two
“She loved it,” Wika recounts about her interaction with Ms. Ewa. A retired psychologist and a photographer herself, now has the chance to be in front of the camera. Living in a catholic country, she points out the double standard of what is seen as acceptable.
“We live in a prudish society. People do really horrible stuff and it’s dismissed. I am showing a bit of my nudity and people see it as inappropriate,” says Ms. Ewa.
“I am 70 years old; I cannot look like 20 years old. Give me a break!”
Chapter three
Currently fighting a tumor, Ms. Dorota is not ready to give in to her illness. She wants to take the bull by the horns and enjoy creative processes as long as she can.
“Through deep analyzing of myself, I have finally started liking myself. I feel the most confident now,” she says.
“However, you all have to remember that confidence is something that has to be built.”
Chapter four
Ms. Gosia is Wika’s aunt. Today, she spends time taking care of an older relative, but in her youth, she was a musician. “She has a beautiful voice,” says Wika.
Wishing to take part in the project to feel beautiful again and to vary her everyday life, Ms. Gosia reveals that she has never felt as peaceful and confident as now.
For Wika, seeing the confidence and enjoyment of life that the women have has put a new perspective on ageing and she hopes it will for others too.
“They had an entire life to like themselves and this is the time when they finally do. That’s also the reason why they participated in that because they love themselves. I think it’s beautiful.”
“They definitely made me not be scared of getting old.”
2023 is well underway, and for us here at Capture One, it’s already been full of new releases and features. With even more exciting tools coming that will make it even easier for photographers to work together with others and create amazing images, we want to let you in on what we have been working on and give you some things to look forward to.
So, here’s a rundown of some of the latest news from Capture One and a peek at what’s to come in the next months.
Artificial intelligence for more control over your editing
Artificial intelligence may seem to be everywhere you turn these days. And while some of you might be worried about what this new technology means for photographers and creatives, at Capture One, we believe in using AI to give control and time back to the photographer to spend on the things that matter the most.
With the launch of Capture One Pro 23, we introduced some of our first AI-assisted tools and features, such as Smart Adjustments giving you a consistent look across multiple images with a single click and automatic grouping of your shots for faster culling. In February, we improved the exposure precision for Smart Adjustments for less manual tweaking and made the culling experience flow even faster with automatic selection of the next photo after you have tagged or rated an image.
Very soon, we are bringing you brand new capabilities that make your work even faster with more tools for quicker culling, even better results across your images with Smart Adjustments, more keyboard shortcut options to speed up your work, and other under-the-hood updates to Capture One Pro to make it run even smoother.
Last year, we released new tools to let you, as a photographer, take your work wherever you want to go. With the Capture One for iPad app, you no longer need to carry around your computer whether you’re doing a tethered shoot or want to see your images on a larger screen and get a head start on your editing while on location.
Now, even more photographers can take their work on the go. In February, we added camera support for Sony FX30, Phase One IQ4 backs, Canon R8 and R50, and even iPhone, for those who are shooting ProRAW photos.
Capture One Live is now available on iPad
Those who need to share their work with clients or teams, even if they are out on location, can now keep them closely involved in a shoot with Capture One Live in the iPad app. With Capture One Live on iPad, you can easily share your images without having to export and upload the images on a separate platform. Get immediate feedback in the app no matter where you or your clients are in the world.
With our coming updates, including comments in the Capture One app and notifications, collaboration will be faster and easier than ever.
We now also offer integration with Frame.io, meaning you can sync your photos directly between the desktop app to Frame.io without having to export or import your images. This is great for creative and marketing teams who can work together even more easily, extending their collaboration all the way to print and beyond.
Capture One for iPhone is coming
Get ready to have the power of the studio in your pocket. In Summer 2023, we are introducing Capture One for iPhone.
Stay tuned to learn more about what Capture One for iPhone can do for the way you work.
Go All In
Finally, we are also happy to introduce All in One. This subscription gives you the full package – all of our products in one convenient bundle.
You’ll get:
Capture One Pro on desktop
Capture One for iPad
Capture One for iPhone (coming)
Capture One Live Unlimited, our image-sharing tool for gathering client feedback in one place
Priority support
Our goal is to make sure that you have the freedom and peace of mind to create as you want, with all the tools you need in one package. So, with the All in One, you can also enjoy priority support and get even quicker responses for any issue you might face with the tools you use. With an average response time of 12 hours, you’ll get help 3 times faster than usual.
Since the invention of photography, countless images have been taken with women as the subject. Most of these have historically been taken by men. As more women are carving out a space for themselves in the industry, the way women on both sides of the camera are represented is changing.
We asked three female photographers about the depiction of women in their work and their thoughts on what the future looks like for women in photography.
Note: This article was originally published in March 2022.
Eva Sitko
Through her colorful style of photography, German photographer and former graphic designer Eva Sitko works to bring out emotions in her subjects to show the interpersonal dynamics of our feelings. Sitko takes a keen interest in her subjects’ emotional display, in particular when shooting women.
“A self-confident, strong woman who deals openly with her emotions is the incarnation of beauty for me.”
Her interest in the emotional life of her subjects has led her to notice differences in how men and women are represented.
“Women are often portrayed in very different ways than men. Masculinity often fulfills a certain function, femininity is represented more by a feeling,” she explains.
“I often see myself faced with the challenge that female models are more likely to show and pose in a more sexual way. Men, on the other hand, want to radiate strength and authenticity. However, I find it more important to depict the feelings of the person, may it be love, anger, curiosity, anger, etc.”
Sitko notes that female photographers have in the past received little publication or marketing despite having a distinctly different and, according to her, intuitive approach to aesthetics when compared to men.
“I see a big positive shift in the support of women’s photography today. This contributes to a holistic view of the genders in art or photography. After all, every human being, male or female, should have the same opportunities. Because that’s what unites us: how we feel.”
For Carly Zavala, being able to relate to the women she shoots helps her find the best way to frame her subjects.
“I know the struggles and experiences we deal with on a daily basis. As something I relate to, I tap into that connection instinctively to get a feel on how to photograph and portray women,” says the Venezuelan-born, Brooklyn-based freelance photographer. With 15 years of experience working as a nurse, Zavala uses her knack for reading her subjects to put them at ease while shooting.
“I let my intuition take the lead and I believe this is where I produce my best work. I want the women that I photograph to be seen in their authenticity, and most importantly for them to see themselves in their natural light.”
Light and shadow play a big role in Zavala’s work to create emotive and moody images giving dimensions to her subjects drawing out interesting stories.
“Being in the age that we are at now, I think it’s extremely important for there to be a focus on the female perspective to help change the narrative of how current society sees and depicts women. We have slowly started to see a shift in the perception of what beauty standards have been, especially for women. I think that women in photography will continue to shift that narrative in a more positive light.”
“I am a woman and mother above all. In every woman, I try to discover the light,” says Madlena Motaki.
As a self-described part-time photographer and full-time mother, much of her work centers around intimate and profound moments between women and their loved ones – mothers with their children, grandmothers and granddaughters, husbands and wives.
“I choose to represent women as raw as they will allow me with a bit of aesthetic.”
Seeing her job as capturing moments of real emotion, her main priority is to make people feel safe and comfortable in front of the camera so they can open up and show their true selves.
“I hope [the future of women photography] will become less perfect and more real. Like when you look at the portrait of a woman and start to wonder ‘who’s she?’, ‘what’s her story?’, ‘why is she sad or happy?’ and I want to keep looking trying to find answers.”
Despite moving to the UK at 19, Wika Wójcikiewicz has not left her Eastern European roots behind. Allowing for curated “mistakes” in her work, the Polish photographer is inspired by the natural, raw, and sometimes gritty side of life and often brings elements from her own upbringing into her photos through the colors, motifs, and subjects she captures.
The soon-to-be London College of Communication graduate shares her thoughts on the in-between moments that create true beauty, mixing media and genres, and how to understand your own aesthetic.
What was your first experience in photography like?
I recall one of my first endeavors with photography occurring when I was gifted a small, plastic, pink-colored Nikon camera at eight years old. I got it for my first communion and started having fun by taking my first images and filming with my friends where we would even partake in styling, set design, and putting together childish scripts. At twelve years old, the idea of becoming a documentary photographer came into my mind. My interests in other subjects, such as geography, had drawn me to documentaries.
Throughout the years, I have been picking up and exploring more and more interests. Personally, I am not only intrigued by one area of photography or film. Since I have been into lens-based media since the age of eight, it only continues to evolve, weirdly leading me to the point I am at now.
Going from Gdansk in Poland to London in the UK must’ve been quite a change of pace and scenario. How did this journey affect the way you use photography to interpret the world?
After leaving Gdansk to come to London, I began to realize that as both an individual and a photographer, I carry the traditions, culture, aesthetics, and colors of both my people and my country. When you grow up with others who act or think like you, you tend not to acknowledge many differences. Differences exist regardless of where you are, as we are all human. However, differences between individuals are not as visible in comparison to the differences in a city like London. Identity was not spoken about often as everyone has a similar identity around you, whereas in London, your identity is more apparent.
As I had both observed and acquired this sense of identity, it revealed my aesthetics and my understanding of beauty through photography. Through this, my sense of expression has been elevated and developed. My awareness of my identity has tremendously helped with expressing where I am from, to the point that it is now something I unconsciously do, not something that is necessarily being forced to be implemented in my work.
Raw and rough are sensations that have a lot to do with your subjects and surroundings. How do you capture this feel in your work across different types of photography?
I suppose many may see my work and believe it to be raw or rough because they are used to perfection when it comes to photography; perfect bodies, faces, and products. As a consequence of this idea of perfection in photography, more organic and candid photos may be considered raw or rough.
However, I perceive those photos as more natural pieces of work. The way I personally achieve this is definitely through analog photography. It allows more room for certain mistakes that a DSLR might not, which is where the roughness of the images comes from.
For example, in fashion photography, I pay attention to and actively look for these candid moments when I shoot. These are moments you have to be patient for, for example, in-between glances from the model. I always seek and find these moments in all styles of photography, whether it is fashion, documentary, or film. I believe it is the true beauty of what we do as photographers – waiting for that particular moment and capturing it.
Many individuals have become accustomed to photography that is highly edited, often shot on a DSLR. These beautiful images of perfect people may have led more organic or less edited photographs to be deemed as rough or raw. For the past three years, I used to describe my work similarly. However, in more recent times, I believe my work to simply be more natural and just less edited in comparison to other photographers. My work being more organic is definitely because I look for these in-between moments and glances. These in-between moments can be crucial as they amplify the honest feel of the photograph and capture the true state of the situation.
Follow along with Wika as she edits one of her photos to bring out the detail of the scene.
How would you describe your style?
As mentioned before, it’s truly about the in-between moments. I would like to call it alternative portraits, which involve less conventional mimics and body language. I appreciate when there is an aspect of my work that catches the viewer’s eye and is remembered. This is executed best when your subject is relaxed, otherwise your subject will only be posing. I prefer when my subjects are both comfortable and natural rather than posing; I then have the room to capture what I need.
What are some of the types of photography you like to shoot the most?
Documentary, fashion, and film (which is also a lens-based media) are my favorites. I love mixing these genres and often find myself doing so. I encounter more space to create something new when mixing genres and styles, and it creates many future ideas. I enjoy sticking them all together by looking through a cinematic lens.
On a different note, how has studying at LCC (London College of Communication) helped you become a better photographer?
Being able to work on projects and study with so many different students from various backgrounds has been mind-blowing. I have seen and tried things that I have never even heard of before, in both a personal and photography/professional context. Exploring new media, colors, textures, and even tastes have helped me find out what suits my ideas best.
In places like that, you are given a chance to develop your identity as both an individual and a photographer.
My tutors are also very helpful. I would love to mention my tutor Derek Wiafe, who consistently provides people on the course with opportunities and tremendous help. It does not matter how busy he is – he would always find time to help everyone. He creates professionals out of his students. Derek honestly pushes us to the best place we possibly can be and ensures that we are working to the best of our potential. He definitely provides both technical and mental support as a tutor and mentor. Big shoutout to him!
Was studying at LCC where you first came in contact with Capture One? What role does the software play in your workflow?
I was introduced to Capture One at LCC through my tutor Derek. He advised us to download the software, and we later had an introductory workshop. We were shown how to use the software and explore its features. Even though I am fond of mistakes in my work, through my use of Capture One, my mistakes become more experimental than unknown. It allows me to see what I am getting and gives me the platform to see whether mistakes are worth developing or not.
Capture One is especially useful when decreasing ambiguity and the unknown from images. At this time in my work, I find it beneficial to know what I am getting on the day of shooting. I used to not consider the importance of this, but as I am now working in a more professional space, it has most certainly been of great assistance. It saves a lot of time.
What are the biggest challenges you’ve faced in your career so far, and how have you overcome them? Any advice for other upcoming photographers?
One of the biggest challenges for me was moving to a new country by myself at the age of 19. I had come to London knowing nobody but ready to start a new life and embark on my photography career. I knew I had to work hard in this new endeavor, or I would have to go back home. This relates to my advice for other aspiring photographers, regardless of where you are – originality and hard work should be your two main priorities when considering your creative work. There are no shortcuts; even if you make good connections and can easily network, you still have to show worthy work.
To produce good work, I would suggest to others that they ensure they enjoy what they are doing. Your work should be pleasurable but should also drive you. I trust that when someone truly believes in what they do and the style they create, they can find their audience. I believe this is due to the fact that your work will come out true and honest, which individuals will see and can deem as good. No one can recreate your work as no one has had the same experiences as you nor possess your own personal aesthetics, aspects which are vital.
In short, I would tell other photographers like myself that understanding yourself and your aesthetics should be your goals when building your style and embarking on originality. Hard work is crucial; if you don’t work hard, no one will do it for you.
Finally, what are some of the photographers you look up to?
One of my favorite documentary photographers is definitely Boris Mikhailov. He’s a photographer who often deals with ideas of roughness and organic work while honestly showing how everything is. He also picks really alternative portraits, which align with my favored styles. In regard to specific genres such as fashion, I would say Zhong Lin is a photographer I’m rather fond of due to their use of color and aesthetics. In terms of alternative portraits, it is very eclectic, and that is exactly what I admire while shooting fashion.
Carly Zavala
Madlena Motaki
