Trickster’s visual artist-in-residence, Silver Mikiver, shares his ways of noticing beauty in hidden places and takes you on a journey to Suurupi, Aegna, Paldiski, and beyond.
I started photography in 2007 when I was 15. Looking back to the many things I tried in my teens, I have wondered why photography stuck with me. It was just an interest at first, then a hobby that eventually grew into a passion. Now, it is a big part of my life and identity. I think photography provided me with a lot of comfort when I was younger, and I sometimes felt alone. It was something that I could do on my own, and that was challenging enough to provide me with a sense of meaning and joy. I have learned many lessons during that time. I think the biggest has been to trust my path and not to worry when things have looked bad or very uncertain. A lot of power has come from changing perspectives from suffering to opportunities to learn and improve.
I am sure that by now, I have shot all main categories. I haven’t always thought this way, but it is interesting how I feel now when shooting a mixture of things regularly. Everything has its essence, and I talk a lot about it in this interview, but when a photographer understands what is in front of the camera and its characteristics, it comes down to light, shape, and perspective. Understanding how to use angles and light to shape a portrait or compose a setting in nature to serve the subject in the best possible way - that is the goal. When an image has a clear point of focus, when the composition of an image leads your eye to the subject, then the visual communication works whatever the message. So the difference between capturing nature or people can be quite minimal; of course, with people, there is directing, but I look for the same things. How much can I possibly remove, and what is essential in the scene.
I think Aegna is my favorite place in Estonia. It is so near to Tallinn yet so exotic in its look and feel. It is surreal to sit on the beach and look at Tallinn's panorama and all of the buildings while hearing only the waves. I think the small ferry is a gift because it can only take like 50 people to the island n one go. Everybody fades, and you will be on your own in no time. I really enjoy that. Spring and autumn are the best times to visit. Summer, too, but I don’t really like the bugs. Besides Aegna, I regularly visit Suurupi, Paldiski, Saaremaa, Hiiumaa, and Laulasmaa.
One extreme adventure while shooting in the field happened last winter when it was around -20C with winds that make your jacket flap around you, you know. I was in Suurupi with a Voigtländer from the 1930’s that I intended to use for this setting. The shutter froze in five minutes while I was setting everything up. I pretty much put the camera back in the bag, and all I could do was witness the combination of ice, waves, wind, and clouds passing by. It was a bit disappointing, but I have learned to accept when things like this happen and just enjoy the experience. It's always different, as you know, and it is a big aspect of what makes photography, in general, so special. You truly never repeat yourself if you think of it that way. On top of that, we are in constant change as well, so there are many aspects that influence what we see and capture.
There have been many serene experiences. It sounds corny, but they often feel like blessings or gifts. Experiencing a swan up close, sleeping, a moon rise through the clouds, or just ordinary cycles of nature all feel magical. I think the true magic lies in stopping and understanding the layers of beauty that surround us every day. As our lives become increasingly faster, I see that many of us need stronger stimulations to feel and see beauty. Of course, traveling to Asia is amazing, but I strongly feel we step over what we have here. Wherever "here" is.
I work a lot with shapes, patterns, and scale. Since the nature that surrounds me most of the time is quite mild and small, I often find myself working with details of a rock, tree, or shadow to make it seem bigger or just more abstract to the eye. As I have developed my understanding and taste, I have also found that being present with a clear focus enables me to see and notice new patterns that I find interesting. I think photography is the art of noticing. The question becomes, how do I see more clearly? The answer is something like eliminating all the noise you can and everything that does not positively serve you. We arrive at discipline and dedication, which can be not that sexy. But progress is there, at least for me.
I enjoy traveling a lot, but I also find it captivating to capture the sand quarry that is five 5-minutes from home with all of its four seasons and frequent mist. Mist is my favourite because it lets me hide the scale and create something mystical from a known place. Plus it makes everything pleasing to the eye and more romantic. I can’t get over shooting a rising sun through the mist. That is bliss.
Familiarity has a lot of good aspects: I often see images of Iceland, for example, and how the landscape dominates the image and the photographer. I guess I see a lack of vision. To capture the essence of something, you have to be centered and not overly stimulated. The stimulation often comes, but after the fact, after capturing the beauty. Of course, it always comes down to taste, but I think I am talking about when a photographer has a unique vision, personal set of values, and direction that transcends into something his or her own. Again, I think it takes a lot of dedication and persistence, and the process is unique to each person. I am curious to see where my intuition leads me and what kind of images I will be making in 20 years. I am interested primarily in my potential and progress as a human. Everything else is a by-product of that.
