Katie Orlinsky

USA

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Photographer Katie Orlinsky has spent the last fifteen years covering news stories and feature assignments around the world for publications like National Geographic, The New York Times and The New Yorker. For the last eight years the majority of her work has focused on documenting the human stories of our changing planet, exploring how the climate crisis is challenging communities across the Arctic and transforming the relationship between people, animals and the land. Her work has been awarded by World Press Photo, Pictures of the Year International, The Alexia Foundation, Visa Pour L’image, PDN and the Art Director’s Club. Katie received a BA in Political Science from Colorado College and an MS in Journalism from Columbia University. She has taught photojournalism as a visiting professor at NYU and the University of Alaska Fairbanks. About "The Last Reindeer" Arctic caribou populations have been in shocking decline, going from a total of 5 million animals twenty years ago to roughly 2 million today. This profound loss threatens to put even more pressure on the fragile, interconnected ecosystem of the Arctic, and the indigenous communities across Alaska and Canada that depend on caribou. Reindeer are the domesticated cousins of the endangered wild caribou, and Canada’s reindeer population has dwindled to less than 3,000 animals, putting them at the brink of extinction. But in August 2021, the Inuvialuit Settlement Region became the sole owners and managers of Canada’s last and only reindeer herd. In taking over care of this herd, the Inuvialuit people are working to reverse this dire population decline, support regional food sovereignty and heal their arctic ecosystem besieged by climate change. With the support of the GFX Challenge Grant I would like to help tell this inspiring story of resilience and revitalization at the top of the world.

Qingjun Huang

USA

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Freelancer artist. He was born in 1971 in China. He has been engaged in photography creation for 30 years, currently lives and works in USA.
Qingjun Huang 's representative works are Steam Locomotive from 1992 to 2002 and Family Stuff from 2003 to present. Online Shopping Family Stuff and Homeless People’s Family Stuff are two special sub-series. Recent new sub-series include China Intangible Cultural Heritage Inheritor’s Belongings, and The Stuffs of Live Streamers. BBC interviewed Huang and featured his works four times in past ten years.

Past exhibitions in China, France, Germany, USA, Netherlands, Finland, Greece, Singapore, Australia, Italy, U.K. etc... About "Family Stuff" I have been doing long-term project “Family Stuff” for 20 years and created 140 photographs. I asked people to bring their belongings out and display in front of house, make family portrait with their belongings together. I create the “documentary” but it is not the scenes that you can directly observe from life. With my interruption and creation of the vision, audience can directly look into the photographs that record the family/person, the culture, the characteristics, the memories, the changing of society, the environment, and the era.
I am now living in USA and I feel the diversity of the community. I am looking into photographing American’s belongings. USA is migrate country, so immigrant is one important point to look at. I am also looking into some unique people here and would like to show the diversification.

Sharon Castellanos

Peru

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Peruvian photographer based in Cusco city. She has worked +four years as a press photographer for a newspaper in Lima city and as a correspondent in Cusco and Puno regions (Peru). Since 2015, she works as a freelance photographer. Her most recent personal and collective projects have focused on farming and environment, according to diverse contexts. As part of her photographic practice for storytelling, she integrates other resources such as video, animation of still images and web implementation. About "The Reading of the Environment" Droughts, delayed rains and intense frost affect the farming in the Andes. A visual inventory will show how by decoding specific natural signs through observation, some master farmers can present weather forecasts in order to take measures to prevent harvest losses. The imagery will aim to be an invitation to see our environment as a semiotics of nature and a space that promotes the encounter between scientific research and other sources of knowledge.

David Gaberle

Czech Republic

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I was born in Prague in 1989. While on a break from my anthropology studies at University College London in 2012, I discovered the therapeutic potential of photography. Three years later, I became an X-Photographer. In 2017 I published a photography book called Metropolight with photos from the streets of some of the world’s largest cities. It focused on how modern architecture influences human emotions.

A year later I was commissioned to photograph Prague for 8 months and had my first solo exhibition at the Center for Architecture and Metropolitan Planning. I spent the following 2 years teaching workshops and photographing intensely. All of my focus was on developing my sensitivity and finding access to deeper emotions. In 2020, I focused on developing my interest in piano and music production so I can accompany my photographs with music. In 2022, I put out my first instrumental on a compilation distributed by Warner Music. I also create podcasts interviewing other photographers. About "The Whisper of Soil" The theme of the project is the fact that humans have tried to shape Earth according to their desire, but Earth has a system of rules of its own and its ecosystem is under threat. It will be audiovisual analysis of what prevents us from creating a stable ecosystem. It will be a video composed of recorded urban scenes, photographs, animation, music and narration mixed with data visualisations. It will revolve around the topic of sustainability and will consist of scenes from the city of Prague and its surrounding nature.

The video will be made with the help of other people, such as digital animators, graphic and costume designers and a sound engineer. It will be consulted with architects focused on urban sustainability and a psychologist. The project is be based on the writings of Gregory Bateson, an anthropologist whose work on cybernetics and ecological anthropology provides a theoretical framework for a visual exploration of the ideas of balance and harmony.

It will consist of 5 chapters, each with a different topic and a different approach to urban sustainability. It will be a balancing act between an informative video, entertainment and art.

Kazuma Obara

Japan

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Kazuma Obara is a photographer and Journalist, born in Iwate, Japan in 1985. He graduated MA Photojournalism/Documentary course at the University of the Arts London. With the themes of war, nuclear, and natural disasters, he continues to document the individual people who become invisible in the midst of disasters.

After the tsunami and nuclear disaster in 2011 in Japan, he began documenting the nuclear labour of Fukushima Daiichi nuclear power plant. The documents were published in the photobook “Reset Beyond Fukushima”, by Lars Müller Publishers, Switzerland in March 2012.

In 2014, he focused on handicapped victims and orphans of World War Two in Japan and his self-published photobook Silent Histories was shortlisted for Paris Photo/Aperture Photo Book Award. The book was also published by Editorial RM(Mexico/Spain) in 2015 as a new edition.

In 2015, continuing his pursuit of nuclear issues as a long term project, Obara was focusing on victims of the Chernobyl nuclear accident. His project ‘Exposure’ was selected for World Press Photo 2016 People category 1st prize.

In 2020, Obara received National Geographic Covid-19 Emergency Fund and documented the mourning process of patients of Covid-19 in the Zone. About "Calvary Island - Tracing the memories of humanity" The project is a human documentary that focuses on the memories of people who have been discriminated against and related to infectious diseases. In the long history of the human beings, invisible viruses have constantly threatened society, sometimes causing divisions between uninfected and infected people across generations. The project traces the memories of people who have experienced infectious diseases in Japan from the first half of the 20th century by using photographs/ videos and audios.

With the new coronavirus infection, which began to spread in 2020, discrimination against infected people and essential workers has become a social problem in Japan. Many of those people hid their faces, making it difficult for their presence to be perceived as anything other than a number. And these effects remain in society.

Through this project, I challenge myself to visualise the life of individual people in the history of infection from the past to the present. I hope that this will be an opportunity for us to think about our past, present, and future.

Carly & Jared Jakins

USA

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Jared & Carly Jakins are a documentary filmmaking team and curatorial collaborators for Film Feast at Granary Arts in Central Utah. They have directed and produced several award-winning short films and have worked on multiple feature-length documentaries together. Their feature debut, Scenes From the Glittering World, was broadcast nationally on PBS’s Independent Lens (2022). Jared is also a commercial director and cinematographer. They believe cinema has the capacity to formally transcend the sum of its parts. They are interested in stories of cultural and historical intersections, divisions, and re-discoveries near their home in the rural American West and beyond. About "American Seams" American Seams explores identity among rural women in the American West. This and other salient themes are probed through a series of intimate but witty conversations and portraiture with 3-4 quilters in a short documentary film. We converse with rural matriarchs who practice a traditionally feminist artistic expression. Much like a quilt is made from various fabrics being stitched together, our characters will each share their unique lifestyle, showing some of the contrast of the American West. Quilts are a reflection of the maker’s belief system and life experience. We hope to cast a light into the multifaceted complexity of identity, womanhood, and politics in rural spaces.
Many of the most enduring and significant images produced of women living and working in the American West were crafted using medium format and larger film negatives. Capturing this short film with a medium-format camera is an intriguing opportunity to engage in a contemporary interpretation of a historic process.

Elizabeth Moreno

Mexico

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Elizabeth Moreno Damm has worked as a visual storyteller in Baja California Sur, México, since 2008. Her documentary work has focused on themes regarding rural life in the peninsular sierras’ and coast, as well as the human transformed landscape in this territory. Her photographs have been showcased in different cities in México, United States, Spain, France, and Chile, and has obtained awards like Daylight Photo Awards (work in progress 2010) and the Jury Prize at El México de los Mexicanos II (2014). Her book Cerca de la Tierra (Close to the land, 2019) was self-published through a federal Mexican Award (FONCA/CONACULTA). She was a film photographer at “La Recua”, documentary awarded and selected in several film festivals in Mexico and the U.S. At the moment she is based in La Paz, where she owns a fine art printing studio and combines maternity with her love for visual storytelling. About "Umbra" “Umbra” is a photographic series about inhabitants of rural areas in the Baja California Peninsula (México), who suffer from preventable vision impairments that lead to partial or total blindness. Some causes of their health condition are overexposure to sunlight without protection and not being able to receive proper timely treatment because they live in very remote areas. Through portraits of people with this kind of eyesight condition, juxtaposed to landscapes that portray the harsh, bright and high contrast desert and coastal environment where they live, I aim to make this health issue more visible.

Daniel Lindskog

Sweden

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Daniel is a Swedish photographer working in the field of archaeology. He started out as a commercial photographer but ten years in he added a BA in archaeology to be part of presenting our cultural heritage. There we find him today, dividing his time between photo- and videography, making documentaries and presentations of cultural heritage sites for clients such as universities and museums.
Having worked at the most known and extraordinary excavations in Sweden, photos and videos have been seen in publications such as: National Geographic, GEO, Archaeology, Antiquity, Science Magazine, Science Channel, The Guardian, The Times, World Archaeology, New York Times, BBC.
In 2022 Daniel participated in a year long scientific study between a Swedish university and museum, to optimize the presentation of sites for people with different needs. A project in which Daniel’s imagery is the source of investigation for the study.
Daniel believes that appreciation comes through understanding, and that understanding comes through interpretation, which accompanies his aim and passion to make the world’s cultural heritage accessible to everyone. By presenting it in a beautiful and artistic way. About "PhotArch - an image of the past" When archaeological artifacts are discovered some will be handed over to a conservator preparing them for the museum to exhibit. Others will go straight into boxes. A photograph is always taken representing the artifact from different angles together with a ruler showing scale. Many of these treasures end up in the archive and all the public is left with is the photograph. Often with differing lighting set ups with little to none consideration to colors and shadows. What if we did things differently?

Photographing the world's archaeological artifacts as a whole by developing a method and spreading it around the globe, starting with this – a section of the Scandinavian Migration Period presented in 200 images. Exhibited at the world’s largest archaeology conference in Belfast, in August 2023. Making a total of 200 images from four different sites from around the same time period: 400-800 AD, these objects will be placed next to each other presented as a whole.

Madeline St Clair

UK

British scientist Madeline (Mads) St Clair is a tropical marine biologist and conservation photographer-filmmaker. Her interest in how man-made stressors are affecting the ocean have taken her across the globe, from coral reef acoustics and microplastics research to filming the disappearing glaciers of Arctic Greenland. Mads drive to learn, investigate and document our oceans and people has taken her to some of the remotest corners of the planet, harnessing her skillset as a commercial drone pilot and underwater camera operator to deliver bold, innovative visual campaigns for the protection and longevity of our most precious marine ecosystems and the people who rely on them. Founder and Managing Director of Women in Ocean Science, Mads is also a fierce advocate for gender equity and works to elevate female voices in the ocean and wildlife space. About "Ocean Wxman" OCEAN WXMAN: an intimate portrait of the female connection to the sea. Following pioneering female ocean guardians from local and indigenous communities across the Indo-Pacific, Ocean Wxman will tell the stories of the women shaping the protection of marine ecosystems within their communities.

A hybrid photography-film series captured within our ocean’s most biodiverse coral reef regions, Ocean Wxman seeks to elevate the women quietly breaking stigmas in conserving the sea, in an exploration of the nuanced relationship between female empowerment and ocean protection.

́Ágnes Berentés

Hungary

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Since her childhood, Ágnes' life has been inspired by the dual love of nature and art. She attended art high school, where she developed her creativity in painting, drawing and later woodcarving.

She completed her university studies as a geographer and geologist. It was almost 10 years ago that she was discovered the world of caving and mining, which changed her life completely and continues to hold her captive to this day.

She started caving as an exploratory researcher. These new discoveries, untouched places never before seen by humans, motivated her to learn photography in the extreme studio of the caves, to show this underground wonder to those who could not see it with their own eyes.

Her photographs aim to draw attention to the hidden wonders and vulnerabilities of nature, as well as the spirit of mutual trust, team spirit and togetherness that are rare in today's world.

Her photographs have been used as illustrations in scientific books (Cave and karst scenes of Hungary), articles (National Geographic Magazine (Hungary), Life and Science), calendars, albums, conference presentations, solo and group exhibitions at home and abroad, TV shows and lectures. About "The Realm of Eternal Darkness in Invisible Light" People believe what they see. However, our eyes can only perceive a narrow range of light. In the realm of eternal darkness, deep in the earth, the only source of light is our lamps.

But what if we illuminate our surroundings with light that we cannot see? As a result of being irradiated with energy beyond the range of visible light, many living and non-living things show a completely different face. They glow in the dark. This phenomenon is called luminescence. The luminescence of minerals is a well-known fact, sometimes a defining characteristic.

In showcases and exhibitions, we can often admire minerals in UV light, but far fewer people see them in their natural environment, in mines and caves.

Imagine how the world you know shows a completely different face when you turn off the light! As your eyes get used to the darkness, the minerals on the walls glow like millions of stars or glowing embers in the light of the UV lamp, as if they were conjuring up the world of Pandora or the stars of the Universe around us! Come with me to this unique world!

Lydia Matata

Kenya

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Lydia Matata is a writer on Country Queen a series streaming on Netflix and Igiza streaming on Showmax. She has also written, directed and produced various narrative and documentary films, including Millet (2018), winner of Docubox’s Shorts, Shots & Shots scriptwriting prize; Sungura, (2021) a narrative film that has screened at several notable festivals including the Pan African Film Festival at Cannes, Interfilm Short Film Festival in Berlin, and the Black Star International Film Festival where it received the best Women in Film Award.
Her other projects are Utapata Mwingine (2021) a documentary short that received the Best Emerging Filmmaker Award at the UN Women’s Global Film Festival; and A Conversation Between Two Artists, a documentary filmed between Kenya and Japan as part of the UNESCO and Nara International Film Festival residency for African Women Filmmakers.
Her first feature film script Pepo Kali is currently in early development. The project recently received the NBO Film Festival’s development prize. About "Pepo Kali" Fiction film inspired by women biker club that exists in Nairobi. After a biker dies in a motorcycle accident, her mother processes her grief by taking motorbike riding lessons.

Jan Mayo

Philippines

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Jan Mayo is a portrait photographer based in Manila, Philippines. He is also a trained airplane pilot, a professional theater performer, and a sports science graduate – all of which allow him to passionately combine creativity and technical skill. About "The Philippine Flora: Portraits and Still Lifes in Diptychs" The project is a photography series of endemic plants in the Philippines that is presented as a beauty editorial. Each endemic species is presented as a diptych, a story told in two parts: first, a beauty portrait wherein the flora is creatively put on a human face and the second photo, a still life.

Tania Malkin

Australia

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Tania recalls some of her earliest memories are of collecting landscape images as travel postcards while on family camping trips around Western Australia and receiving her first SLR camera at seven. From that moment photography and art have been a part her life journey and story. Tania is inspired by the Australian outback colours, remoteness and the Australian Impressionist art movement.
Tania has studied fine art and art history and used photograph images to reference for paintings, however Landscape photography took preference in the late 90’s, developing a passion for Aerial Photography. Tania describes an aerial image as an illustration of the landscape in a completely different way, where both photographer viewer are taken on a journey through the history of a landscape that moves between surreal and reality.
Awards
2017 AIPP APPA Highest Scoring Print award
2016, 2017,2018 AIPP NT Signature Print Award
2017, 2018, 2019 AIPP NT Landscape Photographer of the year
2019 Australian Photography Awards (APA) Winner Landscape Aerial Category 2022 British Journal of Photography’s Female in Focus Exhibition
“Ribbon Dancer” China Art Museums Shanghai’s Collection. About "Ebb and Flow" "Ebb and Flow”, an aerial image project captured from helicopters flying over some of Australia's most remote coastline and desert regions, describes and documents the relationship of water with the landscape and life. Water creates marks on the landscape, carving it, giving and taking life from vegetation, animals and humans. The project showcases colours and patterns on the earth, created by the elements and brought to life with light, recorded as abstract aerial landscape imagery.

Yu Jia

Chinese Mainland

Yu Jia, a native of Sanxingdui in Guanghan, has been committed to the creation of Sanxingdui images for a long time and has formed its own unique style. Since September 2020, as the only contributing photographer of new excavation of six sacrificial pits in Sanxingdui, he has carried out an artistic vision of the archaeological excavation in a new way of shooting, giving the cultural relics a unique way of image, allowing the objects to "speak". About "Sanxingdui Speaks" The history of Sanxingdui is a history book cast in bronze. In this project the photographer has been focusing on the key cultural relics of Sanxingdui and the cultural stories behind it, exploring a new unique image method of Sanxingdui, recording the perfect extraction of broken relics of Sanxingdui one by one, and the wonderful process of the obtaining rebirth, as well as the final complete presentation of the artifacts. He has been try to make a conversation between the modern civilization and the ancient one 3000 years ago. It also presents the ancient Shu civilization to the world and tells the story of Sanxingdui by displaying the unique aesthetic tastes, spiritual concepts and sacrificial rituals of the ancient Shu people.

Zhou Fang

Chinese Mainland

My name is Fang Zhou, director of nature documentary, underwater photographer and underwater explorer. PhD in Management, with 15 years of working experience in the United States. I has been engaged in underwater image recording since 2012.Director's works: Underwater China2019, Dive the world2020. About "Underwater China Season 2-Spotted seal" The second season of the documentary <Underwater China> started in 2019 and focuses on the survival of endangered aquatic lives in China. Which live in China's Bohai Sea, Yangtze River, South China Sea, Qinghai Lake, karst cave stream and Beibu Bay.

These animals are all unique to China, but they are all facing the risk of extinction. I hope to show their survival stories and crises by recording their growth process and the changes in their habitats，arouse public attention and protection.

The project developed very well, from the creative, through the technical, till the acceptance of the community. The work was artistic/documentary, managing to express a problem wich affects the Province of Buenos Aires and extends throughout the country.

Personally, I am very happy with the contact I made with the community. Experiencing the human quality of these territories ratified the importance that inspired me to make theme visible through images, a process that allowed to condense me, meet them, feel ourselves in a time, in its space; it was poetic.

I did definitely enjoy working on the project, not only with the results themselves, but also the wider boundaries the project did extent my visions. I am certainly happy with the results as they have met expected standards.

Dealing with macro subjects, technical challenges are the main enemy. For completion of focus stacking, we need around 70 - 200 photos with overlapping DoF for one stacked result. Too small numbers of photos would result in some blurred areas of final images while too many photos would take up huge memory capacity and would unnecessarily extend time for processing stacking result. It was a matter of finding balance. Another major challenge is environmental controls. These included how to move the camera vertically and horizontally along the specimens with as little discrepant as possible and how to lighten the insects with distinct shapes and textures.

However, along the project way, I have learned and found even precise details and technique that can elevate the results to the even higher levels. And I am happy with this overall processes of development.

My own 22-year cave adventure shooting has gone through a 135 film camera, DSC camera, APS-C format, full-frame. And this time I used the GFX medium format camera, which gave my cave adventure photography career a complete shooting experience.

Some of the underground halls shot in this project required hundreds of meters up and down, and some needed to use rubber boats through the underground river. I have been to three, but I have never been to the other two locations before. Therefore, I had to do some homework and consultation beforehand to know the location. For a few months, it can be described as hardworking and full of hardships. The success was strongly supported by teammates and friends from various places.

Though the project is complete, I still think that the world on the surface is not short of me to shoot records. My studio is still on the dark cave. There are many rare wonderful hidden in it waiting for me to explore and discover and present it. I will continue to shoot in the form of a special topic.

After seeing the final photos I am very happy with the result and I am looking forward to people seeing them too, hopefully, this can bring a better understanding of the impact climate change is having on this part of the world.

This was my first time using the GFX system and also my first time shooting in medium format. I usually shoot with a full-frame DSLR and after years of using the same camera, it becomes like an extension of you. Once I switched and started to use the GFX50S II (the camera I chose), I loved how it felt on my hands. It is very ergonomic and the camera does adapt to the user’s necessities so rapidly that I felt really comfortable using it. The RAWs are top quality and give you room to be as creative as you want without compromising the final image, it is really a dream camera for any photographer.

Looking into the future I wish to keep working on stories about climate change through local and collaborative narratives while incorporating a mix of technologies that can help with it. However, I'd love to keep adding the atemporal beauty of medium format to them.

The project went well and is still ongoing - and I suspect it will be for some time. For now, I am happy where things currently are.

The way I work takes time to plan, but also I have to allow things to flow organically, that’s a big part of the creative process. You have to accept that some things you planned won’t work like you want, some happy accidents will also occur and so any project will inevitably change as it goes on.

Weather is a huge part of this and of course cannot be controlled. During my shoot I encountered huge wild fires making it impossible to shoot locations I had wanted to, but there was nothing to be done to change the fact. I ended up choosing different locations but also documenting some of the consequences of the fire too, and perhaps that will become another project in the future. During something like that you understand how small you are and how tragic and huge the current climate situation is, and you just can’t help but put things into perspective.

The project will go on for a while longer in different locations. I am hoping to bring it out in installation and printed form once I feel it is ready

From the seas to the mountains I trekked in my quest to capture beautiful portrait images of some of the worlds’ most precious insects. Not precious in monetary terms however in global ecological circumstances they are worth their weight in gold. Insects are the base pollinators of all our food sources and their populations have been found to be in sharp decline worldwide. This is a disastrous situation and I have chosen this as my project, entitled ‘The Underworld’. The format of my project is images taken in a macro style showing close up detail of this tiny world of insects. Travelling over 13,000 kms in the allocated period of the GFX Challenge I photographed insects in four different ecoregions around Australia. From elevations of as high as 1800m, I collected images of vastly different subjects across the alpine montaine through to the sandy dunes of the ocean. This project has been a passion project for me and it was through the generosity of Fujifilm (Japan) via the Fujifilm Challenge Grant that gave me the impetus to complete my project and resulting book.

It has been a wonderful experience working with the GFX platform. The camera body is built like a tank and the optical quality of the lenses are unmatched. The quallity of the footage shot while filming of the project has exceeded all my expectations. The Project had some external factors delaying it. 1. The delayed arrival of the South West Monsoon rendered the Nilgiris unsuitable for the look we were trying to achieve. 2. Mr. Iqbal had a fall which required him to take rest. Following which he tested positive for Covid-19. This set us back by 67 days.

Going forward, we intend to enter this project in film festivals. My writing partner and I are also developing a script for a children's feature film and intend to use the GFX body with primista lenses for filming.

In the three ten-day periods of the hot season which in old sayings described as "Pure sun in June and fluid fire in July", I wandered through the Qin Jin Grand Canyon of the Yellow River, from west to east, with GFX100S. It was a 28 days’ road trip from Tuoketuo County in Inner Mongolia Autonomous Region to Yumenkou in Shanxi. This camera has withstood the trial of extreme hot weather. When the camera was continuously exposed under the strong sunshine, under the alternation of "high temperature warning" and torrential rain, it has excellently completed this project.
Especially while shooting Hukou waterfall of the Yellow River in the rainstorm, besides the downpour, there were also yellow mud spots splashing around due to the water drop, mist in the canyon, and water dripping from the rocks above, which soaked my clothes. But the camera was still capable of shooting normally when switching lenses back and forth, which made me felt a lot at ease in my later creation, and no need to feel uneasy about not carrying a spare camera.

The images of active volcanoes we have seen up until today are those that have been photographed through timely dispatch of a shooting team upon eruption, those obtained from nearby residents, or those of visible light captured with satellites. I wanted to see an active volcano as a photographer through the eyes of temperature - not through the eyes of a scientist or a geologist. I expected to see things that I had not been able to up until now if I could see an active volcano whose eruption one cannot predict through the eyes of temperature. I had faith that it would help me comprehend the underlying 'anxiety' in life in the time of Corona even in the slightest bit after seeing the volcano. There are many responses to the question of why I was visiting an active volcano but I had been answering that it's because there are things that can only be observed and felt at an active volcano to achieve order in one's inner world and growth of one's soul.