After the Firebird by Ekaterina Vasilyeva

Magical images from the hidden world

The photo book After the Firebird is now available. The photo project by the same name is the result of a 7-year project in Pskov region (Russia) by award winning photographer Ekaterina Vasilyeva.

After the Firebird talks about the mystery and magic of the hidden world and the amazing discoveries that can occur in front of everybody. You need only to look around carefully.
To view samples and purchase the book, please visit :

Interviews and/or coverage of the project has been published at: Critical Mass, Wobneb Magazine, Art Narratives, Dodho Magazine, C41 Magazine, PDN Magazine, Edge of Humanity Magazine, F-STOP Magazine, WorkshopX, Fotografia Magazine, Private, Saint Lucy, Phosmag Magazine, Tonelit and LensCulture.

To see more images from After the Firebird and read the interview in Wobneb Magazine: click here or to read the interview as it appeared in Art Narratives on Medium, click here

After the Firebird by Ekaterina Vasilyeva
Designer: Ekaterina Vasilyeva
Limited edition of 85 copies (numbered and signed)
Handmade binding

Sise: 24 cm x 32 cm
48 pages + 1
37 color illustrations
1 Firebird for the Incantation
Inside paper: Materica Gesso 120 gr
Cover paper: Materica Gesso 250 gr
Languages: English, Russian
Self published and printed in St. Petersburg (Print Gallery) in 2017

Ekaterina Vasilyeva is an independent photographer from St. Petersburg, Russia, working at the intersection of the genre, documentary and art photography.

In most of her projects, she explores the theme of a particular place (space, territory, it changes in the context of time and historical landmarks, environment problems, interaction with human activity, personal relationship and the myths of the place. To see more of her work, please visit her website:

Directly from Nature — Fine Art Botanicals by Diane Kaye






Diane Kaye’s website,, features only camera-less work. Each photograph is a contact print. A light or moving light beam is directed on the object, which is then recorded on black & white photo paper, or to a digital file via a scan head.


“These subjects, most of them from my garden, are so complete in themselves that the use of software processing is restricted to the digital equivalent of darkroom printing techniques. All other distortions or effects are achieved naturally in a single exposure. I honor all stages of the plant cycle from seed or bulb to beautiful crispy dried old age and I freely exercise my right to surgically operate on my subjects, in the service of a new fierce type of aesthetic. I feel passionate about smeared colors as subjects move, over time.”


“Working with plant specimens calls forth feelings of respect and wonder in me. And if I ‘lean on them’ in just the right way, they begin lending themselves to varieties of emotional expression beyond the traditional beauty-aesthetics we might otherwise associate with them. This isn’t your old grandmother’s bouquet. Far more is possible, as these graceful forms yield their secrets.”




“The artist is the confidant of nature, flowers carry on dialogues with him through the graceful bending of their stems and the harmoniously tinted nuances of their blossoms. Every flower has a cordial word which nature directs towards him”. Auguste Rodin



To view more work by Diane Kaye, please visit her website here, or visit Fine Art Botanicals here.






If you wish to be considered for a feature in Wobneb Magazine, please visit the Submit page at

Also published on Medium



Henri Cartier-Bresson – Greenfield, Indiana, 1960

Greenfield, Indiana, 1960

Henri Cartier-Bresson
French, 1908-2004

Gelatin silver print
10 7/16 x 15 3/8 in. (26.5 x 39.1 cm)
The Museum of Modern Art, New York. Gift of the photographer, Obj: 204759
©2010 Henri Cartier-Bresson / Magnum Photos, courtesy Fondation Henri Cartier-Bresson, Paris

August 22nd is the 109th anniversary of Henri Cartier-Bresson’s birth. To mark the anniversary in a personal way, I found an image by HCB that was taken in my hometown, albeit 10 years before my birth. The county political office shown in the photo above was still standing in the early 1980s; sitting empty with these same windows covered with newspaper. The entire building located on North State Street, one block away from the National Road, US Highway 40, was razed and an empty lot now stands where HCB’s photo was taken.

I find the image interesting and a bit surreal; the women in the photograph are wearing mock Native American ‘buckskin’ attire, and headbands — one with a feather —while exiting an political office with a sign to attract un-registered, Republican voters for the upcoming presidential election.

While I’m uncertain why HCB was in Greenfield, Indiana at the time, I can only hope the award winning Magnum photographer found Greenfield to be an interesting location, with some interesting people who don’t always match up with what you’d expect. Much like today.

Researched and found in the online archive generously made available by the Art Institute of Chicago