On the evening of January 24th, photography enthusiasts, artists, and curious minds gathered at Fotografia Gallery at 21 Tabukashvili St. for a captivating ‘Paraskevi Social’ event titled ‘How I Learned to See: The Eye, the Imagination, and the Camera’ with British photographer and long-time Georgia resident Tony Hanmer. The intimate setting of the gallery, known for its dedication to showcasing the art of photography, provided the perfect backdrop for an evening of storytelling, artistic insight, and a deep-dive into the philosophy of seeing.
Tony Hanmer, a photographer with over four decades of experience, took the audience on a visual and philosophical journey through his evolution as an artist. Born in England with Welsh ancestry, raised in Zimbabwe and Canada, and now a resident of Georgia for 25 years, Hanmer’s life has been one of movement, observation, and adaptation. His love affair with photography began at the age of 11, and since then, his camera has been both a tool and a companion in his exploration of the world.
He began his talk with a personal anecdote, sharing a childhood image of himself on his way to school, books in hand. “The first really important thing that shaped my life was books instead of TV,” he explained. “And I’m very glad about that.” This early exposure to literature not only nurtured his creative mind but also instilled in him an appreciation for patterns, both in language and in the visual world.
One of the recurring themes of the evening was Hanmer’s fascination with patterns—both natural and man-made. He presented stunning images of intricate designs created by tiny crabs on sandy beaches, transient water ripples that vanished in seconds, and reflections distorted by movement. “Nature is the greatest artist,” he remarked. “I’m always looking for what nature gives me in terms of pattern or design—sometimes chaotic, sometimes perfectly structured.”
His keen eye for detail extends beyond landscapes. He shared his experience of being in Moscow during the failed coup against Mikhail Gorbachev in 1991, where he instinctively grabbed his camera to document tanks and crowds. “I wouldn’t call myself a journalist photographer, but history was happening right in front of me—I had to capture it.” The audience was visibly engaged, leaning in as he described the adrenaline of the moment, the rush to buy more film, and the realization that he was witnessing a pivotal moment in world history.
A significant part of Hanmer’s work delves into the interplay between reality and abstraction. He showcased images where reflections, shadows, and blurred motion transformed the ordinary into the surreal. One particularly striking example was a shot taken in Moscow, where a Coca-Cola sign appeared to be advertising against the backdrop of Lenin’s legacy. “Sometimes, you don’t see something until the camera shows it to you,” he mused. “That’s the magic of photography—it reveals things beyond the limits of our own eyes.”
The audience was mesmerized as he described his process, from experimenting with solarization techniques to capturing dance and motion in ways that defied conventional photographic composition. He demonstrated how breaking the traditional rules of photography—blurring, overexposing, or playing with perspective—could lead to striking artistic results.

A Life Shaped by Art
Hanmer’s wife, Lali Hanmer, who shared insights into her own artistic journey and the role of art in their lives. “Art is very important to me—it’s difficult to live without it,” she said. “I see God in art. God gave us eyes as a gift, and through them, we experience the pleasure of beauty.”
Lali spoke about her husband’s lifelong passion for capturing the natural world, from childhood sketches to photography and clay work. “Even in the smallest things—a leaf, a river’s shape, the way snow settles—he finds something wonderful.” She revealed that Tony keeps his photographs- some going right back to when he first started in the craft aged 11, as cherished records of his journey, and noted that his work has appeared on book covers and postcards. “It’s interesting for both the younger and older generation to see how someone got to this point in their artistic journey,” she added, emphasizing the continuous nature of artistic development.
The Atmosphere of the Event
Throughout the evening, Fotografia Gallery buzzed with discussion. Attendees—some professional photographers, others hobbyists, and many simply lovers of art—engaged in lively conversation about the nature of photography. Many were seen exchanging thoughts on Hanmer’s work, analyzing his use of light and shadow, and sharing their own experiences behind the lens.
Jason Escalante, manager of Fotografia Gallery, praised Hanmer’s ability to see beyond the ordinary and bring new perspectives to his photography. “Fotografia Gallery exists to support Georgian art photography, including everything from street and documentary photography, all the way to conceptual,” he said.
One particularly engaging moment came during the Q&A session, when an audience member asked Hanmer how he decides what to shoot. “You shoot what you love,” he answered simply. “And if you don’t know what you love yet, shoot everything until you find out.” This advice struck a chord, sparking a dialogue about personal vision and artistic growth.
As the event drew to a close, attendees lingered, sipping wine and continuing conversations. Hanmer’s words had sparked something—a reconsideration of how they looked at the world, how they framed their own realities through a lens, and how seeing is, in itself, an evolving skill.
For many, ‘How I Learned to See’ was not just a presentation on photography, but an invitation to reconsider their own ways of observing and capturing the world. And for those lucky enough to be there, it was an evening that left them inspired; eager to pick up a camera and see anew.
By Kesaria Katcharava