This book is a compilation of photographs from fourteen megacities: Dubai, Incheon, Seoul, Busan, Chongqing, Shanghai, Singapore, London, Toronto, Montreal, Tokyo, Paris, Hong Kong, and Istanbul. Revealing the complicated nature of the world’s largest metropolises is the ultimate challenge undertaken in Megalopolis. In his photographs, Martin Stavars attempts to grasp this complexity and the networks of intertwined spatial relationships of urban organisms with the eye of a trauma surgeon rather than an impressionist painter. In the precise and somewhat detached images of Tokyo, Istanbul, Chongqing, or Paris, he reflects upon the urban fabric, its composition, only occasionally providing a glimpse of its most innermost parts. Publisher: Charta Editions, 2012 96 pages, 45 duotones. ISBN 9788881588565
IÃ¯Â¿Â½ve always been fascinated by landscapes Ã¯Â¿Â½ places that are absolutely desolate, where I can stay one on one with nature. For me, the growing joy right before pressing the shutter button as well as the possibility of interacting with the world filled with inspiration is as important as the creative act itself. This initial fascination has rapidly grown into obsession that eventually took control over my life. Since the beginning of my adventure with photography, every landscape has been an unforgettable experience, thanks to which IÃ¯Â¿Â½ve learned how to interpret light Ã¯Â¿Â½ the single most important (and the single most waited for) factor that shapes my images. On the other hand, lighting is directly connected with another key element of photography Ã¯Â¿Â½ luck. Proper weather, interesting cloud patterns or even a couple of sunrays breaking through the clouds, have many times decided that after a couple of failed attempts I was able to reach a satisfactory effect the moment nature displayed her most unpredictable face. Lately, my interests widened to cityscapes, where I pursue qualities characteristic to nature Ã¯Â¿Â½ harmony and peace. As it is getting harder to find traits like that in our more and more hectic world, while taking pictures in the biggest European cities I had to develop the most important virtue of a photographer Ã¯Â¿Â½ patience. That is one of the reasons why there are usually no people (or only their silhouettes) on most of my photographs. But such character of my work is also a result of other factor. Whereas taking pictures with the main focus on a person involves emotions that are relatively easy to define, depicting an empty street or portraying pulsing nature usually requires qualitatively different feelings that have to fill in for the missing elements, thus making such photograph something more than a simple document.