Enveloped by Rain: The Magic of Aliace/Uesan’s “Rain on Me”

Rain on Me was my first conceptual shoot, created in my second month as a photographer. I combined three strobes, color gels, cross and soft filters, and multiple layered exposures to express the surreal experience of dancing in the rain.

Diffusion, on the other hand, was the first image I took with my second camera—turning hundreds of umbrellas into a sea of minimalist harmony.

Winning with both works validates the belief that expression doesn’t require time—it requires intention. Even early experiments, when crafted with clarity and risk, can resonate deeply.

I consider whether the work balances originality and execution. A piece must not only express a unique viewpoint but also meet a minimum technical standard to engage juries and audiences. If both the approach and the intention align with the spirit of a contest, I’ll enter it.

I wanted to photograph the stars. I bought a camera for that purpose, and on the very first night, I attempted a star trail image from my home. Despite the city’s light pollution, I was amazed by what the long exposure revealed—and I still remember the thrill.

I’m most drawn to expressive photography that blends fine art and technical experimentation—especially when multiple visual tools are used to build a conceptual experience. Whether it’s motion, portrait, or architectural work, I’m driven by how far I can push the viewer’s expectations.

My core lenses are a 135mm prime and a VILTROX AF 27mm, but I don’t rely on a fixed setup. I rebuild my gear configuration completely depending on how I want to express the concept. For Rain on Me, I used a FUJIFILM X-T3 paired with the SAMYANG 12mm f/2.0 to exaggerate perspective and pull the viewer into the scene. For Diffusion, I used a Nikon Z6II with the NIKKOR Z 24-200mm f/4-6.3 VR to fine-tune compression and symmetry across hundreds of elements.

My favorite “feature” is the freedom to change everything—from focal length to lighting—to match the mood I want to create.

I want the viewer to feel a brief moment of disbelief—a pause where reality and imagination blur. If someone thinks, “I’ve never seen this, but I feel like I’ve dreamed it,” then I’ve succeeded. That threshold between perception and emotion is where my work lives.

For Rain on me, it was the orchestration—synchronizing strobes, managing rain conditions, and composing motion in a single frame. Each layer had to be controlled, yet appear spontaneous.

With Diffusion, it was visual discipline—arranging so many elements while preserving simplicity and symmetry. Both required opposing skills: chaos and control.

I’m inspired by familiar scenes—not to imitate, but to reinterpret. When I see a well-known view, I mentally reconstruct it in three dimensions, searching for an angle or frame that hasn’t yet been seen. My goal is to extract a sense of unfamiliarity from what’s usually overlooked, turning the expected into something surprising.

My biggest influence has been the process itself—shooting, failing, adjusting, and seeing the emotional results of technical choices. Rather than follow mentors, I built my understanding by testing every variable firsthand. That experience shaped both my voice and my vision.

The contest isn’t just a stage for showing work—it’s a tool for refining it. I believe that self-expression alone is not enough to gain recognition; quality must accompany intention. That’s why I create works that are not only personal but also challenge the norms technically or conceptually.

To those entering: polish what only you can see. Refine the expression that only you can create. That’s where the real value lies.

Don’t rush to imitate. Instead, experiment. When I began, I avoided copying tutorials or mentors. I tried multiple settings on the same subject, checking how light, aperture, and motion changed the result. Through that, I built my technical understanding and developed my own voice.

Photography is not about presets—it’s about process.

Post-processing is not a fix—it’s a finishing tool. I rely on composition and light at the shoot, but I use editing to amplify nuance and mood. Especially for multi-layered works like Rain on me, fine adjustments help balance elements that were captured in-camera through complex setups.

AI will certainly reshape the landscape, especially in contests where authenticity matters. For me, photography is grounded in the physical experience—the timing, the light, the emotion at the scene. That reality can’t be replaced.

I believe we’ve reached a point where clear distinctions must be made between AI-generated and human-crafted work, especially when awards are involved.

I would love to photograph the surface of an exoplanet—something no human has walked, where all light, color, and shape are unfamiliar. To visually document what is beyond experience would be the ultimate photographic act: not just to record, but to reveal.