Magdalena Grela’s portfolio is a 2024 Rfotofolio Work of Merit, chosen by juror
Diana Bloomfield.
“In my decision-making for these Awards, I was always drawn to the portfolios that I found so strong that I couldn’t stop thinking about them. This body of work, in particular, was one that stayed with me from the first time I viewed it. These monochromatic images of Ukrainian Romani refugees provide an unflinching look at displaced, war-torn families now living in shelters far from their homeland.
On a technical level, these are strong and natural compositions, pulling the viewer close while still allowing space to take in the surroundings. So many of these images reveal a jarring sense of normalcy- kids being kids- but always tinged with a resigned look of sadness. The most resonant, and perhaps representative of all the work, is “Woman with her Twin Boys.” This mother, cradling her two young boys while looking interestedly and intently at another child, reflects love, strength, and pride, as shown in her body language and facial expression. This is such strong documentary work, and tells as much about the photographer as it does her subject matter.” Diana Bloomfield
Would you please tell us about yourself?
I was born in Tarnobrzeg, Poland in 1984, and began taking photographs at the age of sixteen. I am an independent social documentary photographer and graphic designer based in Głogów Małopolski, a small town located near Rzeszów.
Where did you get your photographic training?
I consider myself self-taught. In 2015, I participated in photography workshops conducted by Michał Drozd, where I fell in love with documentary photography. A few years later, I was fortunate to be mentored by Patrick Ward, one of the most renowned British documentary photographers. Among many lessons, Patrick taught me to follow my instincts as a photographer, saying, “You have a signature running through your pictures and an intimate quality to them, so do please keep following and developing your own unique view of life.” I consider these words one of the most important milestones in my photography journey, and they will stay with me for my entire life.
Who has had an influence on your creative process?
The work of W. Eugene Smith and Eugene Richards, as well as the exhibition, “The Family of Man”, curated by Edward Steichen.
Please tell us about an image (not your own) that has stayed with you over time.
In December 1951, LIFE published one of the most extraordinary photo essays ever to appear in the magazine: “Nurse Midwife”, by W. Eugene Smith.
One particular photo from this essay has stayed with me over time.
What image of yours would you say taught you an important lesson?
In 2023, I took a photo which I called “Two Innocent Victims of the war in Ukraine….”
It depicts a young boy, already damaged by life, and his valiant and supportive grandmother, who were living in a refugee house in the Polish town of Rzeszów.
On one of my visits to the house, I became aware that a Boy and his Grandmother were always seated alone and at the same table in the canteen. I really wanted to talk with them but wondered if we could even share the same language.
When I finally approached them I quickly realised that the Boy, seated in a wheelchair, was unable to speak at all, in any language. Fortunately, his Grandmother did speak good Polish and invited me to join them and to hear their touching story. This silent Boy gave me poignant smiles as his Grandmother told me that he suffered from cerebral palsy, and that his delicate, deformed and spastic hands and arms, and his whole body, needed her constant and loving support.
Later, I saw a tablet on the table, and on its damaged and cracked screen a video was playing. It was of the Boy’s mother, giving a musical performance in Ukraine before the war had started, at a time when the country was free and she was still able to pursue her musical career.
But this is what was so heartbreaking…this silent Boy was playing the video from start to finish, over and over again, perhaps reaching out to his Mother, lost in the movie on a cracked screen….
Please tell us about the work you submitted to The Rfotofolio Call.
In 2022, I started a long-term project called “A Lens for Ukraine” after war broke out in the country. In 2024, I captured a series of photos of Ukrainian Romani refugees who live in shelters located in Jaroslaw, and Przemysl, Poland.
Ukrainian Romani people were the target of discrimination when the war broke out. They faced several difficulties throughout their journey, including during evacuation, and border crossing, and they were not always welcomed in shelters.
The living conditions in shelters, especially in Jaroslaw, are very challenging. In a four-floor building, 200 Ukrainian Romani people live crowded in small rooms with 4-6 bunk beds, accommodating 8-12 people in one room.
The Roma community is the largest ethnic minority in Europe and, according to the EU’s Fundamental Rights Agency, they are the most persecuted. Since the full-scale Russian invasion began on February 24, 2022, thousands of Romani individuals have rallied to defend Ukraine, their cities, villages, and families.
Today, Ukrainian Roma don’t want to go far. Most dream of being close to Ukraine and returning as soon as possible. At the same time, their decision to stay close to home is also motivated by fear.
What part of image-making do you find the most rewarding?
For me, the most rewarding aspect of image-making is the trust and genuine human connection I build with the people I photograph. I’ve learned that I can’t capture a truly good photo without first creating an intimate and safe environment.
How do you work through times when nothing seems to work?
I’m not sure I can fully answer this question—because it has to work!
Photographing people in challenging life situations is often very difficult. Witnessing their suffering and uncertain futures, I can’t stop thinking about them. Almost every day, I wonder: where are they now? Are they safe? Do they have a warm meal to eat? How is their family—fathers and husbands who are fighting in the war?
Whenever I can, I make prints for them. These prints always bring joy, and sometimes I witness deeply emotional and moving reactions. People show the photos to others, share them in their rooms, and some even hide them under their mattresses. These moments are truly precious.
I’ve also heard from voices in the psychological field that these prints might one day become invaluable to the people I photograph, as they could play a role in trauma treatment after the war ends.
What tools have you found essential in the making of your work
I use two cameras: the Nikon D750 and Nikon Z8, along with two lenses – a 24-70mm and a 17-28mm.
Is there something in photography that you would like to try in the future?
Nothing comes to mind at the moment, as I feel there is still so much to explore in the area I’m focused on now. However, I am open to new experiences and am confident that new opportunities will arise in the future.
How does your art affect the way you see the world?
The world mainly focuses on violent images coming from Ukraine and other countries torn by war and news about their political situation, weapons, and soldiers. Regrettably, the plight of refugees living away from their homes and grappling with the relentless uncertainties often goes unnoticed. They remain among the countless victims of these ongoing conflicts.
Through my photos, I feel that what the world desperately needs today is humanity, compassion, and empathy. These qualities help people feel seen, valued, and remembered. They inspire hope and faith in a better future.
What’s on the horizon?
I will begin 2025 with three exhibitions in Poland and Scotland, and I plan to continue my work as long as it remains meaningful to the people I photograph, to the world, and to me. I also have some other ideas, but I’m not ready to share them just yet.
Thank you Magdalena.
To learn more about the work of Magdalena Grela please click on her name.
Featured comments
“Both the portfolio of images and the thoughts shared in the interview are very moving. Magdalena Grela is doing important, meaningful work and doing it well. ”
Barbara Bullock-Wilson
“In the Lens for Ukraine series, Magdalena Grela captures the most vulnerable victims of Russian aggression sheltered in South East Poland. While they are safe at the moment, they remain in a foreign environment. Magdalena portrays their everyday heroism with remarkable authenticity, free of sentimentality.
As a humanitarian photographer, she honors her predecessors while elevating her craft, documenting this pivotal conflict. Through her lens, she bears witness to the personal and collective struggles of Ukrainian Roma communities – balancing calmness with the constant battles against prejudice.
Magdalena’s unwavering commitment to love and kindness lights a hopeful path toward the future.” Roman
Both the portfolio of images and the thoughts shared in the interview are very moving. Magdalena Grela is doing important, meaningful work and doing it well. Barbara Bullock-Wilson
In the Lens for Ukraine series, Magdalena Grela captures the most vulnerable victims of Russian aggression sheltered in South East Poland. While they are safe at the moment, they remain in a foreign environment. Magdalena portrays their everyday heroism with remarkable authenticity, free of sentimentality.
As a humanitarian photographer, she honors her predecessors while elevating her craft, documenting this pivotal conflict. Through her lens, she bears witness to the personal and collective struggles of Ukrainian Roma communities – balancing calmness with the constant battles against prejudice.
Magdalena’s unwavering commitment to love and kindness lights a hopeful path toward the future.