In Conversation with Toja
What first drew you to photography?
It started on Tyler Shields’ sets, where I was assisting and learning the rhythm of how a shoot came together. At first my role was purely behind the scenes, but being immersed in that energy made me want to try it for myself. Tyler pushed me to pick up a camera and was instrumental in teaching me the foundations, and from there I became absolutely hooked. That mix of mentorship and discovery is really what set me on the path.
Your early works were large-format waterscapes. What did you find compelling about that subject matter?
The water felt like a mirror: quiet, reflective, almost meditative. I was interested in capturing something still, something that invited people to pause. Shooting large format made every frame a commitment, and I liked the discipline that came with that.
What inspired your move into wildlife photography?
A trip to Africa changed everything. The first morning I woke up to elephants moving across the horizon, I knew I had to shift my focus. Wildlife is unpredictable, raw, and alive in a way that no staged image could ever be. It taught me to let go of control and adapt to what the world was giving me.
How would you describe your style today?
Crisp, sharp, and immersive. I want the viewer to feel like they’re standing exactly where I was when I pressed the shutter. My goal is always to collapse the distance between subject and audience.
Do you approach wildlife with the same mindset you had with waterscapes?
In a way, yes. Both are about patience and presence. But wildlife requires a heightened awareness, it’s about anticipating movement, respecting the animal’s space, and being ready in a split second. The stillness of water taught me to wait. The wild taught me to act.
Who or what influences your work the most?
Nature itself, without question. But also cinem, how directors build atmosphere, how silence can carry as much weight as dialogue. I try to bring that same cinematic language into still photography.
Do you see yourself returning to waterscapes, or has wildlife taken over completely?
I think both live inside me. The waterscapes taught me something essential, and I’ll probably revisit them one day. But right now, wildlife feels urgent. It’s a reminder of how fragile and fleeting these moments are.
What excites you about being represented by 1905 Contemporary?
Having a platform that believes in photography as fine art, not just image-making, is huge. For me, it’s about telling stories one frame at a time, and 1905 gives me the chance to connect those stories with collectors who care.
Looking ahead, what’s next for you?
I want to keep traveling, and keep chasing the moments that feel unrepeatable.
