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and darkroom classes while living in California. Spending countless hours making prints in a darkroom gave me a firsthand appreciation for the creative and technical decisions hidden behind every successful image. What fascinated me then, and still fascinates me now, is photography’s unique relationship to reality. Every photograph begins with something that existed before the lens, yet the greatest artists transform that reality into something profoundly personal and expressive. Photography can simultaneously function as documentation, memory, social commentary, poetry, and invention. Working in the medium also taught me how extraordinarily difficult it is to create truly exceptional photographs. The technical challenges are significant, but the greater challenge is developing a unique way of seeing. That experience gave me tremendous respect for artists who consistently create images that surprise, challenge, and move viewers. It also sharpened my eye as a collector, allowing me to appreciate not only what an image depicts, but how and why it was made. My passion for the medium eventually led to deeper involvement with organizations dedicated to photography, including service on the board of Aperture and many years of leadership with FotoFocus. Those experiences have only reinforced my belief that photography remains one of the most influential artistic languages of our time. Today I remain especially interested in artists who continue to expand the possibilities of lens-based work: whether through new technologies, interdisciplinary approaches, or entirely new visual languages. Photography remains endlessly relevant because it is constantly reinventing itself while retaining its unique ability to connect us to both reality and imagination. ML: VISU has presented a wide range of artists and exhibitions, including David LaChapelle and Al Farrow. What do you look for when choosing an artist or exhibition for the gallery? Bruce Halpryn: The first requirement is simple: the work must move me. If I don’t feel compelled to spend time with it, I can’t reasonably expect anyone else to. My own experiences studying photography and glass gave me an appreciation for artistic practice that continues to influence how I evaluate work. While those experiences ultimately convinced me that my greatest contribution would be as a collector rather than a maker, they taught me how much dedication, experimentation, and perseverance are required to create something truly original. I have enormous respect for artists willing to take risks in pursuit of a vision. Technique matters, but technique alone is never enough. The artists who interest me most combine mastery with originality. They possess a distinctive visual language and a perspective that feels authentic and necessary. Whether they are addressing culture, identity, spirituality, history, beauty, or the human condition, they are contributing something meaningful to the conversation.