Technically speaking, one can say that George Michopoulos achieved the prismatic analysis of light - a main goal of the Impressionists painters - and for this reason he has been characterized as the first "Impressionist photographer" by the director of the Greek National Gallery, Dimitri Papastamos.

He succeeded in this by utilizing the photographer's ultimate tool and substance: "ΦΩΣ", which in Greek means LIGHT.

Metaphorically speaking, one can say that he used his technical skills, along with his thirst for emotion, as hands to open "rectangular windows" on the thick layer of emotionless fog - created by technocratic values - which hides a dreamful nature. The "rectangular windows" are his pictures and through them a rebel nature shouts at us our responsibility for the existence of the fog. The universality of tight and nature guarantees the universality of what one will see through the "windows" whenever he opens them, anywhere in the world.

In other words, he succeeded in recording, on a piece of paper, memories of nature's face and soul, which passed through his emotional insight, as if this was a filter mounted in front of his lens.

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