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“Belgium is complex”

Published by Andreas Ott

Jeffrey de Keyser about his ongoing series Belgitudes.

Jeffrey, please introduce yourself briefly.

I was born in 1984 in Kortrijk, a Belgian city in the Flemish province of West Flanders. I grew up in a village called Marke just outside of Kortrijk. I am currently living in Ghent and started working as a social science teacher in Brussels after graduating with a master’s degree in political science from Ghent University.

Besides teaching, my biggest passions are travel (both abroad and inside the country) and photography, preferably at the same time. These passions reflect my interest in exploring society and the human mind.

I’ve always been interested in the power of visual language as a means of communication and storytelling, but it was only in 2014 that I began to take photography more seriously when I discovered the street photography genre. And I’m still in love with it today. Street photography opens up a whole new world of magical moments and untold stories. What started off as a leisure-time activity became a means of self-expression and discovery, which fundamentally changed my perception of reality.

You dedicated a whole series called “Belgitudes” about the people in your country. Are Belgian people really that special or different? And why?

That’s hard to explain without some historical context. Belgium has been an artificial construction since its independence in 1830. Though Belgium is a state, the country does not exist as a nation. “Sire, you reign over two peoples. In Belgium there are Walloons and Flemish, there are no Belgians,” the Walloon politician Jules Destrée wrote in an infamous letter to the Belgian king Albert I in 1912. Between 1970 and 1993, a series of constitutional reforms transformed Belgium from a unitary state into a federal state, with cultural autonomy for its Dutch-, French- and German-speaking communities and, through later reforms, a form of political and economic autonomy for the regions Flanders, Wallonia and the Brussels-Capital Region. In short: Belgium is a politically and culturally complex case.

So this raises the question if there is such a thing as a Belgian identity or a ‘Belgitude’? The Brussels-Capital Region might be the only place where this feeling of Belgitude exists. But then again: Brussels is not Belgium. Therefore, the Belgian identity is often seen as a hollow yet paradoxical and complex identity based on self-mockery and irony. And this is where surrealism comes in. I think Belgitude and surrealism go hand in hand because of the absurd and charming nature of both. This is what I’m trying to address in my still ongoing series: to capture the Belgian ‘soul’ through a surrealist lens in typical Belgian events such as carnivals, parades, festivals and processions.

Is there any special theme that causes your interest when going out on the streets to photograph?

Actually, I don’t work or think in themes or projects when shooting the streets. Harry Gruyaert, one of my favorite photographers, once stated in an interview that he has no intention, only reaction when it comes to photography. I think the same goes for me: I try not to think about what I do, but react to what I see. Then afterwards, during the editing process, I start sequencing and rearranging my shots. So in the long term, a series or project could grow out of it organically.

How do you keep yourself motivated?

“No man ever steps in the same river twice, for it’s not the same river and he’s not the same man.” This quote is attributed to the Ancient Greek philosopher Heraclitus and functions as an analogy for his belief that everything is constantly changing. Not only ‘the river’ (the city) but also ‘the man’ (the photographer) is ever-changing.

So, no matter how much you go out to explore the streets, be it in an unfamiliar city or in your own neighborhood, you will always be able to discover something new. The very idea that everything is always changing and that I could possibly create something out of it, keeps me motivated to go out and shoot.

Are there any current or future projects you are working on at the moment?

Due to the coronavirus pandemic and local restrictions my travelling exhibition ‘Catharsis’ was suspended for almost a year, but it will be back on the road in September. The exhibition will visit 7 more cultural centres across Flanders until April 2022.

I have also been working on a project called ‘Trauma’, an experimental black and white series, loosely based on and inspired by the surrealist masterpiece ‘Un Chien Andalou’ by Luis Buñuel and Salvador Dalí. You can find out more about both projects on my website.

There are some other projects I’m working on right now that could evolve into an exhibition. I will announce more when the time is right.

Where can we find more of your work?

Website: https://www.jeffreydekeyser.com/

Instagram: https://www.instagram.com/jeffrey_dekeyser/

Thanks Jeffrey!

“My motivation is to understand reality and how it behaves in society”

Published by Andreas Ott

“My motivation is to understand reality and how it behaves in society”. Antonio Garcia Andres, Barcelona

Antonio, please introduce yourself briefly

I was born in Orihuela (a small city in south Spain) and currently living in Barcelona for 5 years. I work in an architecture studio doing 3D for future projects.

My first contact with photography was during high school, with my friends. We did several short films in Super 8. From those days I began to be interested in cinema, art, etc. and everything related with the photography. About 15 years ago I bought my first analog camera, a Nikon F70, shot my first photos and learned the basics of photography. It was 3 years ago that I began to study photography seriously, analyzing the great masters of photography and going out into the streets with the camera.

What is your motivation to shoot on the streets?

I think my motivation is to understand reality and how it behaves in society. When we go out, we spend a lot of time walking, looking around us and seeing how people behave, looking for those moments that we can capture. We spend a lot of time watching people and how they act. Street photography has a documentary character, transmitting a way of life and habits that change over the years. This allows us to understand the world, and the photography is a way. We are voyeurs of the street and everything that happens in it.

Where do you get your inspiration from?

The inspiration comes from great photographers: Martin Parr, Trent Parke, Richard Kalvar, Alex Webb, etc. Every time I buy a book I usually spend a lot of time with it, looking at a couple of photos a day and analyzing them deeply. Through a deep study I try to get into the head of the photographer and to better understand his photography. I can be with a book for several months.

But I also think that inspiration does not only come from photography. Literature, cinema, architecture, comics, music, etc. They are full of ideas that can be used to take photos. I’m interested in art in general, from which we can learn a lot.

Please tell us about your approach to find those unique, lucky moments!

When I go out to take photos, I don’t usually go out with any initial ideas. I only have a notebook with diagrams of possible situations that could happen on the street, as a starting point.

I usually walk around the most touristic areas of Barcelona, ​​ continuously looking around me and trying to find something to build a good photo from. When I find something interesting, I start taking photos and can even follow what has caught my attention. In those seconds or minutes, I try to get the best possible photo.

An example: in one occasion in Plaza Sant Jaume in Barcelona, there was a wedding and the attendees threw confetti on the ground. When I saw the confetti, my brain automatically started to think of possible photos. The first thing that came to mind was a person in a dotted skirt. After 15 minutes in the square looking for possible photos… a dalmatian appeared. I think I took about 10 photos in the few seconds that this situation lasted.

What do you do if your not out on the streets?

I usually dedicate 10 hours a week to photography. I always carry my camera with me when I go to and when commuting. In the weekends, I usually go outside for a couple of hours to take photos. The rest of the time I am working and resting at home (reading, watching movies, etc.). Currently, photography is a hobby for me and I have no intention of engaging in it professionally. I think that living from street photography is so difficult.

What are your plans for the future?

My plan for the future is to take more and more photos and learn everything I can. I’ve been only taking photos for 3 years and I think I need to take more great photos. Many times I ask myself what the purpose of my photography is, but for the moment it is to enjoy it. I have thought sometimes to self-publish a fanzine, but maybe in the future. There is a lot of time ahead.

Anything else you want to talk about?

Perhaps a tip for people who are just starting out in photography. I believe that it is very important that they see a lot of photography by great photographers and that they look at other areas of art where they can also learn a lot. I would also tell them to be demanding with their own photos, analyzing them thoroughly and asking questions about them.

Thanks Antonio!

https://www.instagram.com/aantonio_ga/

“Try to see the same place with fresher eyes”

Published by Andreas Ott

Gavin Bragdon, better known with his brother Gareth as the “Bragdon Brothers”, shares some thoughts about their way into street photography, their hometown Edinburgh and their handling with the current corona pandamic.

“Gareth and I are of course brothers, originally from the US. We moved around a lot growing up as our dad worked for the US military, so we spent a lot of grade school years in Germany before
moving back to the states. We moved to Scotland in 2009 and settled in Edinburgh that year
where we have been since, by far the longest we’ve lived anywhere.

We got into photography around the same time. At one time, music was our main creative outlet
but that sort of ran into a wall in 2011 and that’s where photography came in. It was street
photography that we especially latched onto. The discovery of this genre, where all you needed
was a camera to sort of take pieces of the world around and turn it into your “art” or whatever you want to call it, really set something off in us. We’ve been obsessed ever since. I’ve dabbled in
other creative outlets between then and now, but it’s always been street photography that we
come back to, even when you can feel fed up with it sometimes. Street photography is our “home”.

Edinburgh is of course our main canvas, and over the years our main shooting grounds have been the two main thoroughfares in the city centre- Princes Street and the Royal Mile. The former is in the New Town and is full of the big high street shops and is where you get a lot of not only tourists but also residents of the city. The latter is in the Old Town and is the more touristy area. This is where you have more of the medieval architecture and of course the castle.

The two streets run parallel to each other and where most of the “subjects” are, so thus where we’ve shot the most. We call the the area “the racetrack” because when we are out shooting are essentially running a circle around the two areas.

When you are a street photographer, you evolve to the place you live or shoot the most. Scotland
is not known for its great weather. It’s often dull, overcast or raining. In the winter, it’s dark most of the time. This is how the flash came in. To compensate for the lack of bright, dynamic light. It was a technical solution to an environmental problem. It became more than that though, there is something about the aesthetic that drew us in. Things can look more dynamic, surreal. There’s an “experimental” side of flash that I really like.

I often wonder how we would have evolved photographers had we took up the practice
somewhere else, how it would have shaped our work. If we were in a warm, sunny place, would it
have taken a more Webb-esque slant? Or if we had picked it up when we lived in the suburbia we
last lived in in the US, would we have instead been more “stood-back”, doing more in the way of
urban/suburban landscapes, a bit more Stephen Shore influenced?

So that’s the evolution of ones approach in the formative early months and years, but how do you “evolve” beyond that? Photographing the same place 95% of the time can be very frustrating
after a while. Your eyes sort of glaze over- particularly if like Edinburgh, the city isn’t very big or as “bustling” as say London or New York. The obvious solution would be to travel and when we were able to do that a bit more, it was great, opened our eyes and really injected some much needed juice, made us better photographers.

However, as Gareth suffers from chronic lyme disease which is a very crippling condition (which even stymies his ability to take pictures at all), travel has been off the menu for a while now. We have had to made with what we have at home. “Evolve” inward rather than outward. Find ways to keep things fresh here, try to see the same place with fresher eyes. One thing you find though is that when you spend more time with one place, you end up being more focussed on how it changes through time, you sort of become a chronicler of a place as it moves through time.

This brings us to this particular juncture in time with all the rapid changes, but most obviously the pandemic. I think for many of us, this has been the biggest turning historical turning point we’ve experienced in our life times thus far and it especially effects the practice of street photography.

The last couple of months, the streets have been mostly empty. The rhythm of the place has been
severely disrupted and will be for a while. Shooting up close will probably be taboo for the next bit because of social distancing. The world in the aftermath will be a new normal, will be different, will be battered and winded by the constantly accelerating “future shock” that we’ve been experiencing over the last few years and will continue to do so.

We as photographers will have to adapt to this in terms of approach and focus, but perhaps now, there is no more important time to be a street photographer, documenting the future of a place.”

Photos 1-4 © Gareth Bragdon
Photos 5-8 © Gavin Bragdon

https://www.bragdonbrothers.com/
https://www.instagram.com/the_bragdon_brothers/
https://www.instagram.com/gavinbragdon/
https://www.instagram.com/garethbragdon/

https://www.facebook.com/thebragdonbrothersphoto/

“London presents itself to my eyes as a gigantic spectacle”

Published by Andreas Ott

Francesco Gioia about street photography in London

Francesco, please tell us a bit about yourself:

I am a photographer based in London, England. I was born in Florence in 1991. I like to shoot various different things when I’m on the street. Even though I have always loved photography, I discovered street photography only a few years ago and immediately became obsessed with it.

Where is your focus when out on the streets?

Usually, I never go out with a clear and defined idea of what I’m going to photograph. The streets and the people give me the inspiration to move on and to keep photographing every single day. I always carry the camera with me so I am constantly looking out for interesting and unusual moments.

Whats the story / idea behind your submitted series “Daymares and Nightdreams”?

This series focuses on the mixed feelings I have when doing street photography. Sometimes it can be a daydream and other times it can be a nightmare. But after thinking about it I realized that most of the times these two feelings go hand in hand and instead of separate them, I should unite them and let them coexist.

These photos represent my passion for irony, light, shadows, expressions, colours and also for things like ambiguity and life itself.

© Francesco Gioia

How do you compare Italy and the UK interms of street photography?

Even though I absolutely love my hometown and I find Florence to be the most gorgeous place on the earth, there’s some kind of mental obstruction with it. Mostly it feels like a self-satisfied dragging up of memories, a sort of theatrical operation. I simply cannot think about Florence in an impartial manner, I always feel under attack by the ghosts of my memories and therefore I never feel free to shoot as I would like to. London on the other hand presents itself to my eyes as a gigantic spectacle, free and wonderful and I feel less observed, more “invisible”.

How do you keep yourself motiviated?

I try to keep myself motivated by not going to the same places over and over, I spend a lot of time studying the great photographers like Garry Winogrand, Harry Gruyaert, Joseph Koudelka and many others, their work never cease to amaze me.

What are your photography plans this year?

Right now I am working on a big project and I am also preparing a few series for some competitions ahead this year.

Where can we find more of your work?

https://www.francescogioia.com/

https://www.instagram.com/francesco_gioia_street/

Thanks Francesco!

Urban Street Diving Deb Bonney Australia

“It’s not really ideal for street photography”

Published by Andreas Ott

Deb, please tell us a bit about yourself, your hometown and how you got into photography.

I live in a country town about three hours from Melbourne, it has approximately 35,000 people living in it and the winters are long, wet and cold, which means it’s not really ideal for street photography. I picked up a camera approximately nine years ago, I think mainly because I was looking for something that I could do in my spare time. I then discovered street photography in 2012, since then it has been my passion and has now also become a kind of self meditation for me.

Please tell us a bit about your submitted series. What’s the story / idea behind the series and how did the selection prozess look like?

When I shoot I’m always trying to capture a feeling, I guess it’s a way for me to express myself. I’ve been told that my black and white work is quite dark it almost has an apocalyptic feeling to it. So when asked to shoot a small project for this, I thought why not run with that theme. It started with the one image of the people silhouettes in the window and then it just continued from there, trying not to overthink it whilst shooting it was just a theme lingering in the back of my mind. Then the editing process is something different, that’s where the fun begins. I always print my images out as 4×6 and lay them out on the table trying to edit and sequence them trying to create some kind of story.

Urban Street Diving Deb Bonney Australia Urban Street Diving Deb Bonney Australia Urban Street Diving Deb Bonney Australia Urban Street Diving Deb Bonney Australia Urban Street Diving Deb Bonney Australia Urban Street Diving Deb Bonney Australia Urban Street Diving Deb Bonney Australia Urban Street Diving Deb Bonney Australia Urban Street Diving Deb Bonney Australia Urban Street Diving Deb Bonney Australia

Where do you get your insperation from?

Of course there’s the great photographers such as Daido Moriyama and Trent Parke. Books….I love books. I recently found a book called ‘The Mechanical Retina on My Fingertips’ by Issei Suda it’s a small book of photos where Suda shot everything he saw with a Minox spy camera in 1991/1992, He stored 600 images in “A box of lingering” until the right moment in 2018, when the book was printed, I love that!

I also find inspiration from my friends in the Aussie Street collective they make me shoot when I sometimes don’t feel like it. I see them producing the work so it forces me to keep going just to try and keep up with them. We also collaborate on things together, in fact lately I’ve been working with Rachael Willis and Jonathan Pui on a sequencing exercise of quiet images. I’m getting to see work from them that I’ve never seen before whilst also working on my sequencing skills. Hopefully it will turn into something, but it’s been more about the process, it’s been fun.

Are there any current or future projects you are working on at the moment?

I’m just shooting most of the time, following the black and white theme, hoping the more images I produce a project will suddenly emerge from the darkness.

Where can we find more of your work?

www.debbonney.com
Instagram

Aussie Street: www.aussiestreet.com.au

Thanks Deb!

“I am a witty and humorous person”

Published by Andreas Ott

Arsenio Jr Nidoy about himself

Arsenio, please tell us a bit about yourself

I am an amateur photographer from the Philippines, currently based in the Middle East working in a construction company. I started learning photography in 2012. Back then, I already enjoyed capturing random photos of people in public places although I do not have an idea of what street photography is.

How are you? What have you been up to lately?

Well, I am doing good, just came back from our Europe tour with my wife, now I am back to reality, juggling with work and personal life.

How do you find those funny moments?

Well, I believe I am a witty and humorous person, people would also tell me that, that’s my personality, I guess that helps me to easily spot and compose funny scenes.

Where or from who do you get inspiration from?

When I started street photography, I often browse photos on flicker and on the pages of some famous street photographers, I study them which helps me create my own style and refrain from taking cliché shots. I don’t have any particular inspiration.

How is street photography like in your home country?

I am currently residing in Qatar. When doing street photography here, I have to be extra careful because they have a strict law when it comes to taking photos of individuals, otherwise, I would end up in jail. It is difficult because of the restrictions but thankfully I have managed to took some photos without violating the law.

What else do you like to do besides photography?

Aside from doing Street Photography as my hobby, I am also into caricature and painting bags and shoes as commissioned works.

Any projects you are working on at the moment?

Currently I don’t don’t have any project but me and my Street Photography partner had already released two self published photobooks.

Where can we find more of your work?

https://arseniojrnidoy.wixsite.com/arsenicjrphotography

https://www.instagram.com/arsenicjr_street/

https://www.flickr.com/photos/109545888@N06/

https://www.eyeem.com/u/arsenicjunior

Thanks Arsenio!

“Photography is fiction and creation above all”

Published by Andreas Ott

Gustavo Minas, journalist and freelance photographer from Brasilia, Brazil, about his view on photography.

Gustavo, please introduce yourself briefly

I grew up in a small town called Cássia, in the interior of Minas Gerais state, Brazil. In 2000, I went to university to study journalism. That’s where I learned the basics of photography, some dark room and names such as Henri Cartier-Bresson and Robert Capa. After this, I moved with some friends to the Northeast of Brazil, the idea was to set up a bar, but it never worked.
Then I spent a gap year working as a waiter in London. But when I moved back to Brazil and started working hard in a newspaper in São Paulo (12 hours a day, 2 weekends per month), I felt I should do something else of my life to relieve the pressure.

In 2009, I enrolled in a one-year course with Carlos Moreira, a master who’s been photographing mainly São Paulo since the ’60s, and this changed everything for me. He taught me to photograph for my own satisfaction and self-expression, and about how photography is fiction and creation above all. And he showed me Harry Gruyaert, Alex Webb, Saul Leiter, Pinkhassov, color guys who inspired me a lot. I’ve been photographing almost daily since 2009.

What makes a photo a good photo for you?

For me, light is essential. It can be natural or artificial, but certain lights really change the nature of things for me, it has the power to transform the banal into something extraordinary.
But not only this. I like pictures with some story, but this story can’t be too literal, for me. I like images that suggest more than tell, images more open-ended, with some mystery.
And for me, complexity and parallel stories within the frame can make an image work as well.
There’s no receipt, actually.

Please tell us a bit about your project “Bus station”

One million people pass through the Plano Piloto Bus Station in Brasilia daily. The terminal, located only a couple of kilometers from National Congress, is a meeting point which connects the Brazilian capital and its satellite cities, These cities serve as dormitory towns for hundreds of thousands of workers who need to travel for tens of kilometers to get to work in the center of the Federal District. This constant crowd is an exception in a city planned for cars, full of empty spaces and alienating streets, little prone to walking and to interaction among its inhabitants. Besides being a place of passage, the marquees of the  Bus  Station also serve as the first shelter for those who come from afar in search of opportunities in the capital. This series is a portrait of all these passengers, often immersed in moments of solitude and anticipation amid the chaos.

Photos © Gustavo Minas

How does your selection process look like for online and print publications?

There’s no distinction between online and print. What happens is that I only post images online 6 months after I’ve made them. After this time I’m more detached from my feelings, and this helps me in analyzing if they work or not. So, most of these images were taken in the last 6 months, and I just let you choose if they’re worth showing or not. 🙂

You published your first book “Maximum Shadow Minimal Light” a couple of months ago. Please tell us a bit about the collaboration with Lammerhuber publication and the selection process.

Lois Lammberhuber, the publisher, is also a photographer, and he worked in Brazil in the past. He happened to get to know my work through a newsletter on Latin American photography featuring this very same series, Bus Station. He got in touch with me, and in July 2017 I went to Baden, Austria, and we worked for one week in the editing of the book. I took 800 images with me, from 2009 to 2017, and we rated them through five rounds. In the first round, the ones who got one star from any of us would go forward, and so on. After choosing these 95, we worked in the sequencing, and Martin Ackerl and Lois came out with the design. I must say that the final decisions were mostly of Lois’, but I’m happy with them.

By looking at your portfolio, you like to travel a lot. What have been your most memorable encounters with people or places on your trips so far?

Cuba was great. The days I spent there were a bit cold, so I ended up spending a lot of time in local bars, talking to local people, smoking cigars and drinking rum. They love Brazil, and they’re very interested in our politics, so it wasn’t hard to get into a conversation. And after some minutes some of them were telling me their whole life. Many images from my “Cold Front in Havana” series came up this way: https://www.gustavominas.com/Frente-Fria-em-Havana-Cold-Front-in-Havana

What else do you like to do besides photography?

I read a lot, but mostly I take a lot of pleasure from my daily routine. I only start at work in the afternoon, so I have free mornings. I spend many hours editing the images, looking at the photobooks, but also cooking my lunch… this basic routine can be very enjoyable for me.

Is there a project you are working on currently?

No, I never work with preconceived ideas or projects, I just keep shooting and amassing images. Then, in the future, I’ll look back and check if some of them can make sense together. I’m more interested in making images daily than in overthinking, editing and sequencing them.

Where can wen find more of your work?

www.gustavominas.com
instagram.com/gustavominas
flickr.com/gustavominas
https://edition.lammerhuber.at/en/books/maximum-shadow-minimal-light

Thanks Gustavo!

Urban Street Diving Benita Suchodrev Blackpool 10

“The dark side of Blackpool”

Published by Andreas Ott

… was better revealed in the light of day”. Benita Suchodrev about her photo series “48hours Blackpool”.

Benita, please introduce yourself briefly.

I am a Russian-American photographer based in Berlin where I have been living and working since 2008. In the first few years following my relocation I extensively documented Berlin’s multifaceted art scene and nightlife, capturing the so called ‘Zeitgeist’ while working on diverse photographic projects. My portrait and documentary work has been exhibited in solo and group shows nationally and internationally.

Your photo series was shot during a 48 hour visit to Blackpool. Why this particular city and not any other british seaside town?

I journeyed to Blackpool following an invitation from a colleague who was planning a visit. I knew nothing of Blackpool and had no plans at the time to shoot in this or in any other British resort town. But when the opportunity to visit Blackpool presented itself, I knew it was the thing to do. It was a very spontaneous, intuitive decision.

How did you prepare for your trip knowing that you have only limited time of shooting?

I did not prepare at all. I had no expectations or preconceptions. With my camera equipment in tow I took a plane to Manchester and the train to Blackpool, not knowing what I was going to see or photograph. In fact, Rain was predicted, so I thought photographing the storm at sea would be my consolation; little did I know that the sea will only seldom appear in my pictures.

Blackpool was as anonymous to me as I was to it and that was a good thing. I had an open mind, worked without pressure, without obsessing; I just let myself to go with the flow and let life unfold before my eyes, before my camera. I strongly dislike limitations. Why worry about time running out and planning your shots when the best ones often happen when least planned or expected? I strongly believe that this kind of freedom and mental flexibility is what photographing on the street is all about.

Urban Street Diving Benita Suchodrev Blackpool 10 Urban Street Diving Benita Suchodrev Blackpool 10 Urban Street Diving Benita Suchodrev Blackpool 10 Urban Street Diving Benita Suchodrev Blackpool 10 Urban Street Diving Benita Suchodrev Blackpool 10How did people react to being photographed?

The truth is that in Blackpool people were so occupied with themselves and their activities that I was barely noticed, though I was probably the only photographer around. Going unnoticed is something that is quite rare in this day and age when everyone is so ‘camera aware’. But I also know how to shoot discreetly. I don’t hide my camera but I also don’t shove it into people’s faces… well, not unless I absolutely have to!

What encounters have remained in your memory?

The whole trip was one big encounter. Blackpool struck me as a whimsical hybrid of Coney Island and Las Vegas, where Elvis Presley is still alive and a miniature version of the Eiffel Tower soars above the Irish Sea; a makeshift wonderland where the insatiable craving for wonder far exceeds the wonder itself. I was faced with flocks of young and old caught in consumption frenzy, eager to fit as many thrills as possible into the smallest window of time.

Blackpool is after all a weekend getaway; a traditional destination for stag and hen parties and wacky characters. It is also a playground for kids with painted faces wearing candy-colored tops, gangsta hoodies, and fake tattoos, fervidly dragging their moms and pops (and vice versa) in and out, to and fro amusement parks, bingo halls, arcades, and restaurants. In this resort town, where crime and poverty rates make it a point of convergence for the cheerful and the destitute, I wasn’t looking for emptiness, distress, or alienation. But to my surprise I seemed to find it almost everywhere, in almost everyone. I discovered that the dark side of Blackpool was better revealed in the light of day.

Urban Street Diving Benita Suchodrev Blackpool 10 Urban Street Diving Benita Suchodrev Blackpool 10 Urban Street Diving Benita Suchodrev Blackpool 10 Urban Street Diving Benita Suchodrev Blackpool 10

By looking at your portfolio, you are focusing on other photography genres as well. What is it that makes street photography so appealing for you?

Documentary and staged photography are two different worlds. In staged photography I control the light, the angle, even my subjects. And even if I work intuitively, which I do, I end up staging the world in the picture. In documentary photography I have little influence. I shoot what comes at me, as it comes. I adapt to my surroundings, not make them adapt to me.

I also find that in staged or studio photography light plays a crucial if not prominent role whereas in documentary photography LIFE is at the center. It may sound a bit like a cliché, but on the street you are hunter. You need ‘guts’ and you need to turn on your senses. On the street my camera is an extension of my hand; with it I reach out and grab the moment that I don’t want to let go of.

How do you approach your subjects on the streets?

I do not shy from confrontation. But building intimacy is not what I am after. I don’t regard the streets as a space for intimacy but for immediacy. I meet my subjects head on. I spot them fast and photograph them even faster. Depending on their size and my proximity, I sometimes frame and shoot at waist level, which results in drastic and occasionally unforgiving angles. Life is unforgiving and the street has its own pace, which I intuitively follow. It is not a soft-hearted method but it isn’t callous either.

I feel that one challenge for a street photographer is to strike a balance between the blatant and subtle. Turning the street into a stage is not the same as turning it into a zoo, into a spectacle of the carnivalesque where human subjects are robbed of the slightest shred of dignity, turned into caricatures so visually and ideologically distorted that their sole purpose in the image is to arouse sensation. Like all sensation, this kind is bound to satiate then leave empty, only to return, but it is short lived. A touch of subtlety cannot hurt even the most blatant photograph and it is found more often in questions than in exclamations.

Do you work on any other projects at the moment?

I am working on a couple of projects. One of them is my next book, a sequel to “48 Hours Blackpool”. It is a somewhat darker series where the ‘real’ Blackpool locals are in focus and not so much the promenade crowd. The other project I’ll be shooting in the Middle East.

Where can we find more of your work?

Hopefully in my next book! I also have a big solo exhibition of “48 Hours Blackpool” opening on March 29th at the Willy-Brandt-Haus in Berlin. The exhibition will be on until May 12th. On my website www.benitasuchodrev.com you will find different samples of my work, past and present.

Thanks Benita!

“Honest Ed’s felt a lot like home to me”

Published by Andreas Ott

Shlomi Amiga about photographing one of Toronto’s most famous and historical department stores

How did the Honest Ed series came about? Please tell us a bit about the place.

When I moved to Toronto ten years ago, Honest Ed’s was the first place I remember dazzling me. My first visit inside felt like I got thrown back in time forty or fifty years. As it was one of the only places downtown selling Israeli goods, I visited it quite often, at times almost on a daily basis. I loved looking around at all the signed posters as I was shopping for food that made me feel like I was at the local grocery store back at home. Because of that, in a sense, Honest Ed’s felt a lot like home to me. It was one of Toronto’s most famous and historical department stores that over the years turned into a real city landmark.

Ed Mirvish, who was running it until he passed away in 2007, opened the store in 1984. It was located on the corner of Bloor Street West and Bathurst Street in Toronto. The impressive exterior was covered with 23,000 red and yellow light bulbs that made the ‘Honest Ed’. Even though some would be considered as marketing strategies, the ‘Loss leader’ specials and free turkey giveaways really emphasized the generosity and characteristics of the place, not to mention the low-priced merchandise, ranging from vacuum cleaners and winter coats to kitchenware, toys and grocery items. Going into Honest Ed’s was an experience by itself, even if you don’t end up buying anything.

The store was structured from two buildings and arranged in a way that would make most people wander in it for about 30 minutes before they even figure out where the actual exit is. It is quite the maze, in the most wonderful definition of the word.

In the summer of 2013 I was sent on assignment to photograph Honest Ed’s for The Grid magazine’s featured article, right after the breaking news that the land the store was on is up for sale. I made a visit in August and took the morning to photograph the exterior and interiors of the store, focusing on the character of the costumers as well as the visual aesthetics and arrangement of the store. In addition, I was given a tour of the inside of the two buildings, exploring areas very limited amount of people had access to. It was quite the phenomenal experience. My most favorite thing to focus on was always the way the space and its inhibitors came together. On a most basic level, this is just the nature of every store however at Honest Ed that conjunction always seemed to have had a theatrical feel to it and I enjoyed that immensely.

Where are your favorite places in Toronto to shoot and why?

Toronto is a fantastic city to photograph. Some of my favorite places to shoot would be Parkdale, as well as the Bloor and Lansdowne area. I am drawn to areas that are on the cusp of gentrification and how that upcoming transition translates into visuals that represent urban and demographical changes.

Are you working on any other projects?

I am currently working on a portraiture series that focuses in non binary gender subjects, as well as early stages of another documentary series.

Where can we find more of your work?

My work can be found on my website at www.shlomiamiga.com as well as on Instagram @callmeshlomi.

Thanks Shlomi!

Street Photography Fabian Schreyer

“I was on parental leave and booked a plane ticket to Morocco”

Published by Andreas Ott

Fabian Schreyer, German based street photographer about his short trip to Chefchaouen, Morocco.

Fabian, please introduce yourself briefly.

I’m 35 years old and working as a marketing manager, pr-agent and photographer in my hometown Augsburg/Germany. Since about ten years I have a special focus on street photography and I’m the co-founder of the international street photography collective The Street Collective.

Your series was shot in Chefchaouen, Morocco. How did this series came about and how did you prepare for this trip?

The series resulted from a rather spontaneous trip to Morocco this November. I was on parental leave, got a few days family timeout and booked a plane ticket to Fès in Morocco. I had been to the south of Morocco already twice, so I decided to head to the north this time. A place I always wanted to visit is Chefchaouen, a laid-back mountain village 4.5 bus hours north of Fès where the exterior walls of almost all buildings are painted in different shades of blue. Unfortunately I had only 1.5 days to stay and photograph, so I’m hoping to return one day.

Street Photography Fabian Schreyer Street Photography Fabian Schreyer Street Photography Fabian Schreyer Street Photography Fabian Schreyer Street Photography Fabian Schreyer Street Photography Fabian Schreyer Street Photography Fabian Schreyer Street Photography Fabian Schreyer Street Photography Fabian Schreyer Street Photography Fabian Schreyer

How did people react when being photographed at this particular place and in Morocco in general?

Many Moroccans are not too pleased with the approach of a street photographer, who rarely asks before taking pictures. Especially women, the elderly or very religious people easily get offended, so it’s a balancing act to seize your opportunities without being a pain in the ass. Chefchaouen wasn’t much different concerning this matter to other places in Morocco that I had visited before.

What do you do to keep yourself motivated to go out and shoot?

I rarely need any extra motivation. Being a first-time father, I‘m quite busy recently. So if I see an opportunity, I can’t wait to hit the streets. Especially if I have the chance to combine it with a trip, I’m always extremely excited to spend all day outside photographing.

How do you balance family life, work and street photograhpy?

That’s a difficult task indeed and I’m still trying to figure out how to satisfy all needs. My job situation is currently quite time consuming and either photography or the family and friends get a bit neglected. I hope to find a good balance, but it might take some time and I don’t have a masterplan yet.

Please tell us a bit about your own personal projects and your current or future activities with your friends at thestreetcollective.

My plan for the next months is to find as much time to shoot as possible without neglecting my family life. I’ll continue to work on a few long term projects – for example on the Oktoberfest.
I might do an exhibition of my work from Morocco in Morocco and on the long run I want to publish a book on my personal work, something I’m still quite afraid of.

Due to everyone’s full schedule our collective comes off a bit badly at the moment. We’re planning to realize a few new collective edits/projects though in the future and try to realize another collective holiday/meeting somewhere in 2019.

Where can we find more of your work?

Website: www.shootingcandid.com
Collective: www.thestreetcollective.com
Instagram: www.instagram.com/fabian_schreyer_street
Facebook: www.facebook.com/shootingcandid
Flickr: www.flickr.com/photos/shootingcandid

Thanks Fabian!

“They all stood their grounds because they love their king”

Published by Andreas Ott

Tang Tawanwad Wanavit about his photo series shot two days before Thailand lost their king Bhumibol Adulyadej.

Tang, please introduce yourself briefly.

My name is Tang Tawanwad Wanavit, but most people just call me Tang, currently 27 years old. I have been shooting Street Photographs for almost 2 years now. I work as a cinematographer in Thailand, mostly shooting television commercials.

Your series is about the death of your King Bhumibol Adulyadej. Please tell us about the atmosphere and the situations you encounderd that day and night.

The photo series was from 2 days before we lost our former King. Thai people were gathering because we did not want to lose King Bhumibol, but the only thing we could do was to stay close to the hospital and pray, hoping that our energy could reach his majesty the King. I started taking photos of faces of the people around there, I took almost 2,000 images, but the moments that touches me the most was when it rained very hard, but nobody moved. They all stood their grounds and just stayed because they love their king.

By looking at your portfolio you also like to photograph animals a lot. How does that come about?

It increases more and more because I like animals much more than people. My career involves dealing with people constantly, luckily they’re nice people, but I treat my street photography as leisure, and I don’t want to engage with people sometimes. I wish to shoot something I adore, something I want to stay close to, and they’re animals I guess. Dogs are really cute too hahaha.

How does working in the film industrie influences you approach in Street Photography?

The film industry has a missive influence on my photography. My favorite thing to do in shooting moving picture is lighting. I love experimenting with lights. Most of the time it fails, but it’s crazy fun. I treat my street photography as a scene, then I would approach it with questions like “how should I light this?” This is really giving me a lot of freedom and a lot of room to experiment since it only cost 2-4 flashes in street photography while in the film industry lighting a single scene can cost almost 5,000 dollars.

What else do you like to shoot?

I love shooting self portraits at night after work, making up stories for my pictures. It always start with ‘what if I do this to the light,’ and I go do it. It’s almost like a science experiment, start with hypothesis, then test it out, 90% of the time it fails.

What are your favorite places to shoot in Bangkok?

I don’t really have one, but I don’t go into the city, I find it not very attractive. I prefer shooting around the outside area of Bangkok near construction sites and ponds.

Are there any projets you are working on at the moment?

Right now I’m having a small break in my Photography because I just accepted this job for cinematography that will keep me busy 24/7 for the next 2 months, but I’m having this project call Lucid Dreaming, where I try to put myself in half a sleep condition and write what ever, write as much as possible, and shoot it when I’m sober.

Where can we find more of your work?

Instagram : tang_tawanwad
Facebook : Tang Tawanwad Wanavit

Thanks Tang!

“The rich, the poor, all enlightened by the same light”

Published by Andreas Ott

Alessandro Schiariti about photographing between the pillars of the Vatican City.

Alessandro, please introduce yourself briefly.

I was born in Rome in 1980. Since the first years of life, I have been surrounded by art and artists, my father himself is an artist. I grew up among paintings and galleries, poets and writers and probably this made art a natural element to me. I discovered photography at the age of 20 starting from scratch and after that, I have never stopped shooting.

I’m a professional photographer today. For years I have worked as an official photographer in several “alternative” events (rock, metal, dark). Today I’m still involved in this kind of events.

I carry on my business as a commercial photographer and on the other hand, I dedicate myself to the organization of photographic exhibitions and to the disclosure of street photography culture in Rome and Italy through “TRA ASFALTO E LUCE “, a community of which I am responsible of and the founder: I teach photography and street photography.

Currently, I am involved in several collaborations with artistic collectives and when time allows I realize small reportages of situations that I find interesting and that I love to tell. But what I love most is shooting in the street using photography to abstract reality and make paintings of light.

I love photography, I love art, I always thought that it is not the intellect that makes us different from other animals, but the ability to give shape to the soul through art.

What is Street Photography for you?

It’s a different way of seeing reality. Tell a story or paint picture with concrete and light. It’s about mankind and its behaviors.

Why did you choose the Vatican City to shoot your series?

Because I am fascinated by the cultural, social and ethnic heterogeneity that can be found between the pillars of Vatican city. This is part of my project “Lux Aetherna”. It’s impressive as in such a small place it is possible to find the whole world: the rich, the poor, the career man and the man of faith, all enlightened by the same light.

What makes Rome so special for street photography?

Someone said “all roads lead to Rome “. It’s a city with a huge history behind it, and you can feel it when you walk on the streets. I think I’m lucky. I can shoot in vatican city, at the coloseum. Those places are part of the culture of each of us and I can be there to shoot. Photographers who live in important cities or places such as New York, Rome or Paris are lucky but they don’t always realize it. Rome is an extremely heterogeneous city that allows to shoot in many different social and cultural contexts.

What do you shoot when the sun isn’t shining?

I love a certain aesthetic in street photography and I am always looking for a good light. But I am also realizing social reportages. In those cases, I am more interested in the narrative and the composition than in the light. These days I’m following a football team of refugees from Africa and the history of their team playing in Rome.

Please tell us about your future plans or projects.

Continue to make street photography exhibitions with my community “tra asfalto e luce”. Carry out the projects and reportages that I already have and start new ones. Continue my personal jorney in photography and art.

Where can we find more of your work?

http://alessandroschiariti.wixsite.com/photographer

https://www.instagram.com/alessandroschiariti/

Thanks Alessandro!

“In the past I thought that wasn’t my thing”

Published by Andreas Ott

Nei Valente, New York based photographer about photographing parades, protests and big groups of people

Nei, please introduce yourself briefly.

I am a 28 year old Brazilian photographer and graphic designer currently based in NYC. I started to take photograph more seriously when I moved to New York in 2016.

At first it was just something that I used to do during lunch breaks or during times I was not designing. Now I really dedicate my time to think about projects, go to places and find stories.

I also had the chance to be part of shows in the USA, France and Serbia and had work being published on Spiegel Online, Harpers Magazine, Huffpost, Buzzfeed. I’m still very much in the beginning of my career in photography, but I’m really excited with what I’ve been learning. For my next steps the goal is to develop and understand more of the general context behind some photos and tell more complete narratives.

Please tell us a bit about about your submitted photo series from this years Mermaid Parade in Coney Island

The mermaid parade happens every summer in Coney Island (since 1983…more here), an interesting place in NYC that combines beach and amusement parks. The place, that is already full of character, gets even more unique during this artistic parade. I decided to photograph there for two reasons:

The first reason is that I’m building a more complete series about the Coney Island boardwalk that I’ve been shooting since last summer. The idea is to show different aspects of the boardwalk that was once considered “america’s playground”, then it got decadent and now it’s “recovering”. As every place that “recovers” in NYC there are some discussions about the impact of real estate among other things. I photographed the winter during a snowstorm, the summer, the polar bear club (where some people get together to swim in the winter) and would obviously need to photograph the mermaid parade to help building the work (that are not those photos, this is in another style).

The second reason is that I really like photographing parades, protests and big groups of people together. I think it’s kind of fascinating when all these people get together on the streets united by a single thing. In the past I thought that wasn’t my thing cause it had people posing, little smiles for the camera and awkward positions. But I started to appreciate this more and more and see a big documental value in this kind of portrait.

For this kind of portrait I usually use off camera flash and underexpose the background a little bit. I try to be really quick and make each interaction last less than a minute. It’s just the way I prefer. Of course that sometimes there is some small talk after the photo to give contacts for the ones that want the photos, but not always. Trying to do more and more of this kind of specific coverage and sunday i’ll be on the Pride Parade in NYC, so hoping to get some interesting things too.

What are some other current projects you have been working on?

I have multiple projects going on, but i’m dedicating more time to two that i’m closer to the end. The first is trying to do street photography with no people and focusing in getting emotions out of things instead people. The second is about Coney Island. Im visiting the boardwalk regularly to complete a visual story about the current situation of the place that was already portrayed by some relevant photographers in the past. It’s one more bit of documentation of the place.

Besides that I have some long term projects that will take a couple of years to complete.

Where can we find more of your work?

To see what i’m doing on the everyday and what is new: http://instagram.com/neivalente
To see more complete projects the best place would be https://www.neivalente.com/projects

Thanks Nei!

Don’t flee away when you get noticed by someone

Published by Andreas Ott

Giedo van der Zwan about his project “Pier to Pier” and photographing in public

Giedo, please introduce yourself briefly.

Hello, my name is Giedo. I’m 50 years old, married and a father of three (2 daughters and a son). I’m self-employed and specialized in writing and publishing. Sometimes I do a photography shoot if I can combine it with other work. But most of my photography is ‘free work’.

I discovered street photography only recently (beginning of 2017) but I have been photographing since my parents gave me a camera at the age of 11…

Let’s dive right into your submitted photos. They are from your project “Pier to Pier” showing beach life in Scheveningen, a seaside resort and district of The Hague in the Netherlands. Please tell us how did that idea come about.

I grew up close to Scheveningen, a coastal town which attracts many visitors; and has done so for centuries. But also for many years, Scheveningen was a poor fishing village. I had learnt this from family stories. ‘Van der Zwan’ is a well-known family name in Scheveningen, where my grandfather had a fish shop and where my father grew up. The stories I heard from them sketched a completely different picture of the beach and the sea, which was full of dangers, particularly for the fishermen who depended on it for their income.

It sounded a very different life from the peace and prosperity I had experienced when I was growing up on the edge of Scheveningen and enjoyed when I came to the boulevard, the beach or the pier.

It was this contradiction that made me decide to delve deeper with my camera into the contemporary bath culture of Scheveningen, which is only 10 minutes by bike from my house.

What it is that distinguishes Scheveningen from other beaches, especially from those abroad?

Last year, I have been to Coney Island close to New York City and I saw the Pier in Brighton, both out of season. What struck me was that Scheveningen is much more lively outside the tourist season. At home I experience a sense of optimism which seems to be absent in those famous places.

To add to this optimism, the city decided to renovate the boulevard which resulted in a fine and fresh decor for even more summer activities. Practically every week a variety of events takes place. Especially this year as Scheveningen is celebrating its 200th birthday as a sea-bathing destination.

Photographing on the beach can sometimes be very awkward. What had been your worst experiences whilst photographing there?

My worst experience was a young guy threatening to throw my camera from the pier. I don’t think he was even in the picture, but that does not really matter. In a situation like that I always stay friendly and calm and offer to delete their shot. This prevents further escalation. But actually, most encounters I have in Scheveningen are very nice and I meet the friendliest of people.

I do know this as, when I photograph up close (and I use flash so people do notice), I frequently end up explaining why I am taking someones picture. And surprisingly, this mostly results in a positive reaction. Especially locals who are very proud of there little town happily support my long term project.

But, even though one does not need formal permission to photograph in a public space, it still feels a little strange. The only thing I think a photographer can do is to always take photographs with respect for the people who are in one’s viewfinder.

You are working towards an exhibition at the pier in Scheveningen and also on a book. How can pleople support your project?

Very simple: Order a copy of my book! You can do that on my website…

Do you have any other favorite places to shoot besides the seaside?

Yes, many. I travel quite a lot. Last year I went to Sri Lanka for a street photography workshop and I also visited Bahrain, Madeira, Portugal, Brighton and New York. And I was out shooting in all of those places.

It’s just that going away and shooting together with other photographers gives me new inspiration which I can use back home to dive even deeper in my own environment. And I get the best results by coming back and again to the same place.

Is there anything else you want to talk about?

Well yes, I think there is already a lot to do about the relationship between a street photographer and his/her public. Especially now EU-legislation is rolled out in the area of privacy protection.

I feel that we – photographers – have to defend our art, but also that we have to be aware of our responsibility. I mean, it is strange to photograph people without permission. And any photographer should have this in mind.

So, don’t flee away when you get noticed by someone in your viewfinder. Connect. Be friendly and explain. When you approach it positively, you’ll be rewarded for it! Some of my best shots in Scheveningen I made after connecting to people and staying around until they not only were used to my presence, but even felt comfortable with me being there. Then you can get really close…

Where can we find more of your work?

www.giedovanderzwan.com
www.instagram.com/giedovanderzwan
www.piertopier.nl

Thanks Giedo!

What strikes me here is the light

Published by Andreas Ott

Luca Paccusse about photographing in his hometown Rome

Luca, please tell us a bit about yourself.

I’m an amateur photographer from Rome focused on street and documentary photography. I started taking pictures during my travels and my passion for street photography has been growing over the last five years. I’m basically self-taught. Even though I have attended short courses, it was above all the vision and analysis of the work of the masters of photography together with the exchange with other photographers or enthusiasts to enrich me.

What do you like about Rome when it comes to street photography?

As every big city, Rome offers a huge opportunity for situations, people and inspirations for every street photographer. Besides particular moments that can happen or some people that you can meet during a photowalk, what strikes me here, is the light. On days like this, I like to play with light and shadow, accentuate the contrasts and by emphasizing certain elements of the image.

Where are you favorite locations in Rome to shoot?

Usually I take photos in the central neighborhoods, for different reasons. One is that often happens to go there during the week; they are easy to reach; they are often full of people, that usually don’t care about you. In fact, downtown a street photographer can be almost unnoticed.

It’s more difficult shooting in the residential or suburban neighborhoods. On the other side, by walking around the neighborhoods, you can capture more everyday situations, that’s why sometimes I also shot in the less touristy areas.

What do you look for on the streets?

I feel myself as a hunter or a fisherman in the street. Sometimes I’m very instinctive, I walk among the people looking for a particular moment (I would like to say “the decisive moment” as HCB), an expression of the face or something strange and surreal.

Other times I like to play with the light so I wait for a “good fish” to pass in the area illuminated by the sun.

Your series was shot at one day in two streets. Why did you chose those particular location for your series?

Via del Corso and Via Condotti are two busy central streets, between piazza Venezia, piazza del Popolo and Spanish Steps, so I think that this area is good to take pictures of people.

Along these streets you can find shops, banks, bar and museums. You can meet working people, tourists or people who do shopping from different social backgrounds, since you can find the chain stores and luxury ones.

© Luca Paccusse

What are you up to in the near future, photography wise?

I would like to concentrate on one or more photographic projects, which can give coherence to my production. I also plan to make a photo book, which I hope to complete by the end of the year.

Recently, with other photographers based in and around Rome, I’ve founded the street photography collective called Funky Avenue www.funkyavenue.com.
We aim to make ourselves known by showing our work also through publications in the future, trying at the same time to spread street photography through meetings and photowalks. It’s a new project for us and I think it can be a good idea to enrich each other among the members of the collective.

Where can we find more of your work?

http://www.lucapaccussephoto.com
http://www.instagram.com/lucapaccusse
https://www.flickr.com/photos/lucapaccusse
https://www.eyeem.com/u/lucapaccusse

Thanks Luca!

 

Interview with 2018 contest winner Katarzyna Kubiak

Published by Andreas Ott

Interview with 2018 Night Diving Contest Winner Katarzyna Kubiak, Street – and Documentary Photographer from Warsaw, Poland and Member of Un-posed and Streetical Collective

Katarzyna, please tell us a bit about yourself.

I’m 34 years old and I live in Warsaw, Poland. I graduated the law and administration faculty. I’m a mother of a teenage daughter. My adventure with photography started in 2014.

What it is that motivates you to shoot on the streets?

Photography, especially street photography is my real passion, although it hasn’t started long time ago.

I love to travel and I’m curios what streets can offer to me. Every city is different full of hidden places and unexpected moments, to be honest you can not predict what will happened. That is what excites me with street photography and motivates me to go and shoot.

What are you favorite subjects or themes that you go after out on the streets?

I like to frame groups of people and build layers of plans in one picture.

Mostly what I’m searching for in a regular scene is that moment which change ordinary scene to something extraordinary. Sometimes I also look for an interesting detail.

Your series “One night with Charlotte” won the first prize at the 2018 Night Diving Contest. Congratulations again! How did that series came about and what stories did you enconter that night?

The body of work I’ve submitted were part of a bigger project, that I was working on during documentary photography workshops. I still have a drive to continue that as a long term project. The main character of my series – Charlotte – was not only one of participants of „Whatever” – Queer Festival but also an event organizer, and coordinator. I thought that this event will be perfect match with the theme of competition and will also show the unknown part of the city.

You are a member of the un-posed and Streetical street photography collective. What are you currently up to in your group?

As Un-Posed we started series of meeting for street photography lovers called StreetMeet. I was also leading street photo workshop in London and soon next edition, but this time in Warsaw. In Streetical I’m responsible for social media.

What are your personal future plans in photography?

I want to spend more time on long-term documentary projects. There are lot of ideas on my mind, but so little time to develop them.

Where can we find more of your work?

Streetical, Un-posed

Thanks Katarzyna!

2018 Night Diving contest winners

Published by Andreas Ott

The winners and finalists from the 2018 Night Diving Contest in cooperation with RAW Streetphoto Gallery Rotterdam. 

 

1st Katarzyna Kubiak, Warsaw, Poland

“One night with Charlotte”

“My photographs shows the story of one night, which I had the opportunity to spend with Polish Drag Queen, accompaying her during the Whatever festiwal organized on her initiative.“

 

2nd Jan Daga, Pattaya, Thailand

“I hide in the fog and in the shadows”

„My project is an act of devotion to life and people.

What I’m looking for are emotions. What I’m looking for are the moments before the emotion. When the real emotion it has not happened yet, and the facial expression is slowly turning. Suspended moments if you like.

What I would like is to be invisible, and hide in the fog and in the shadows. Then I transform myself, I try to become part of the moment. Then, I can live all these emotions with my subjects and we can share the same feelings. Hiding in the dark they forget about me.

I usually start early, because it takes time to become invisible. A small camera, a light lens. Then I wait. I observe and study the people around me. I’ll have to understand them before I can anticipate their emotions. Only then, I move. It costs me a lot of energy and I do not always get what I hope, but I put my whole self on it. Or rather, I try to put as little as possible of myself. To stay in the shadows and let my subjects shine with their inner light.

 

3rd Dani Oshi, Brussels, Belgium

“Night series without description”

 

 

Finalists

Sebastian Jacobitz, Berlin, Germany

“Berlin after dark”

„The Berlin Ku’Damm is the most prominent shopping street in Berlin. Normally the street is filled with people looking for the newest dresses or Cellphones. But when the sun leaves the scene, another characteristic is visible. Almost like a blurry dream, the series displays another side of the street. Creating those scenes with a flash and a longer shutter speed, the characters of the people become a different twist. Unimpressive, mundane & usual at day. Extraordinary, gritty & wild at night.

This is Berlin in a photography series.”

 

Bahram Shabani, Tehran, Iran

“Evening Portraits”

„Tehran, a metropolis with population of fifteen million is becoming larger, more crowded, and more heterogeneous each day, and life in this city has become a challenging issue for many: a challenge for staying and keeping up.

The lifestyle in this city has changed in accordance with the time; women have abandoned their traditional status as housewives and, just like men, many of them leave their homes at dawn to get to their workplaces and do not return until nightfall so as to keep up with the unbalanced cycle of life.

I believe that the ever-changing and uncertain life conditions lead to psychological pressure insociety. This kind of pressure has become a major part of my life too, and I feel that this issue is reflected in the faces of people of this city.“

 

Karina Wisz, Kraków, Poland

“Untitled”

„As streets are my favourite place to take photos, I try to catch stories hidden in one blink of camera’s eye.

Here is my story about 21st century: people are together but separately, are close but far, focused on virtual life to run away from the reality.“

 

Farzane Ghadyanloo, Tehran, Iran

“Tehran night life series”

„Years ago attending Fajr film festival I had to take a bus to go back home late night. I was super shocked with the world inside it. To spend the whole night inside a bus is indeed such an exotic way of life in which you pay to get in, get to sleep through the whole path, then you get off waiting for the same bus to the same spot. Such a mundane repeated freaky lifestyle. So another long term project involving these nights started.

First nights I was afraid to take out my camera, gradually I had this mission to spend the whole winter nights on bus and to watch them closely and some times I could silently take some pictures. I started seeing some characters every night, the odd one out, the beautiful young lady in fine dress that looked only through the glasses mysteriously. The naughty teenager with an insulting language that I had to avoid any eye contacts, the the smelly old woman that looked like an iranian actress, the addicted old man who was always complaining about the cold weather and the man with his loud nightmares.

To my surprise when the sun rises the soldiares and ordinary men in their suits were appearing and that unique family was dissappearing as if they leave the bus to the earth humans to get it back at nights.

 

Chris Duesing, Chicago, USA

“Chicago Winter Nights”

I am a street photographer in Chicago that took my first candid photo four years ago. I am still focusing on exploring the technical and aesthetic side of my craft. This series is only the second time I have used a flash at night, and am very much enjoying the process of shooting at a fixed distance with no chance of stealth.

Many practitioners of the genre focus on grittiness and showing people suffering, I prefer to capture a fleeting moment of connection with an interesting stranger.

 

Arnold Despi, Henderson, USA

“Fremont Street”

„My street series features Fremont Street in Las Vegas, Nevada. It is a famous entertainment destination located in the heart of old downtown Las Vegas.

Fremont Street dates back to 1905 when Las Vegas was founded. Fremont Street was the first paved street in Las Vegas in 1925. Over the years the place has been improved and rehabilitated and has become a melting pot for tourists and locals alike. Fremont Street is the place to get entertained, have a great time with Friends and also meeting new friends.

My street photo series showcase the people of Fremont Street, a mix of street entertainers and people visiting the place to have fun and enjoy the environment. This particular set of images were taken in a single evening within the Fremont Street Experience. All images were captured with the aid of an off camera flash unit. Welcome to the Fremont Street Experience.“

 

“It’s a pain in the ass. Chaos and beauty.”

Published by Andreas Ott

Kerem Nasipoglu about living and photographing in Istanbul, Turkey.

Kerem, who are you?

I am a street & documentary photographer and content creator living in Istanbul. My interest in photography began when I was studying at the university, for the reason of documenting my life. I tried other mediums like writing but in the end I decided to stick with photography because it looked easy (later on I understood that it’s not easy at all :))

You are based in the wonderful city of Istanbul, Turkey. What do you like best about Street Photography in your city?

As you said Istanbul is a great city for photographers. Almost all types of photographers can find something to shoot in this city. However, living in Istanbul is a pain in the ass. Its the true representation of chaos. Its a hard place to survive. Chaos and beauty, the combination of this two aspects makes this city so interesting and worth shooting for my taste.

Where are your favorite places to shoot and what do you look for when out on the streets in Istanbul?

Almost two years ago I moved to a new apartment in the center of Kadikoy, a very cosmopolitan area with lots of bars, cafes and restaurants. The reason for me to move there was basically I wanted to be in the middle of everything. The moment I leave my front door I wanted to be inside life! For me, Kadikoy is the representation of the old, secular and free Turkey, unlike what we’re becoming.

Apart from photographing Kadikoy, Eminonu, Karakoy and Beyoglu are also the places that I like to shoot. However, Istanbul is a huge city and I am sure that everybody can find nice things to shoot almost everywhere.

I am mostly interested in life when I am photographing. People, street animals, details, objects, spaces, everything that catches my eye can be my subject. Apart from that I have a couple of on going projects, so I always have those subjects in my mind when I am out and when I see something related with those ideas, I shoot.

Your submitted photos are part of your series “Urban Jungle”, that shows how animals and people live together in your city. How did that series come about?

The first time that I lived abroad, it catched my eye that there were no stray animals around. I lived in the UK for 2 years and I quite missed being with animals. When I returned to Istanbul, I decided to show how humans and animals can live together. Istanbul is the true representation of this.

© Kerem Nasipoglu

Do you have pets?

I have two cats, both were living in the streets and had some serious health problems so they needed special care.

What are your current projects and future plans?

Two projects that I am working on are “Urban Jungle”, the one about how we’re living with stray animals, the other one is about the urban transformation, the ongoing constructions around the city and their effect on people.

Apart from my photo projects, I am working on a project that I wanted to rise awareness on social issues with documentary and street photography. Its called Sokak Hikayeleri (“Street Narratives” in English). So what I am doing there is basically promoting other photographers’ projects and works that touch the society,

Where can we find more of your work?

My portfolio: https://www.keremnasipoglu.com/
Instagram: https://www.instagram.com/cknvisual/
Photos that I curated: https://sokakhikayeleri.com/
EyeEm: https://www.eyeem.com/u/cknvisual

Thanks Kerem!

Street Photography on the doorstep

Published by Andreas Ott

Darren Lehane wanted to see what he could come up with by literally just stepping out of his front door.

Darren, please introduce yourself briefly.

I’m a professional photographer from south London, primarily as a documentary wedding photographer as well as shooting work for the likes of Getty Images and Alamy. I’ve also been shooting street photography seriously for the last 11 years or so.

I was surrounded by photography and photos from an early age, my grandmother Pearl an avid amateur snapper. I first started getting serious with photography as a teenager in the mid 1980s (yes I recently turned 50!) inspired by the music portrait work of Anton Corbijn (think gritty b&w work of bands like Joy Division, U2, Depeche Mode, etc). As luck would have it my Mum won an SLR around the same time and, with no need for it, gave it to me. It was the coming together of those two things that largely changed my life.

I dabbled with street photography a little but it wasn’t until I went fully digital in about 2006 did I really start pursuing street with any real seriousness. That then became a passion and it would be fair to say that in many ways street photography influences even the other work I produce nowadays (especially at weddings.)

Why do you shoot Street Photography?

I often ask myself the same question sometimes, especially when you’ve been at it for a day and still come back with absolutely nothing.

But I believe street photography is (or rather should be) the most accessible and democratic of all the photography genres. You just need a basic camera, a comfortable pair of shoes and a genuine intrigue in what’s going on around you.

I don’t need to book studios, hire models or travel to exotic locations. You can literally just step outside your front door at any time of the day and start doing street photography – which was the aim of doing this street dive for you. And when you start doing that on a regular basis, it becomes an itch you have to continually scratch.

What does a good street photo look like in your opinion?

Wow, tough question and one that has led to a thousand heated debates on the topic!

For me personally I want street photos that capture something a little less ordinary – in other words things that transcend the ordinary nature of life for a fleeting second. It might be a look, a gesture, how things line up or simply makes you laugh. I certainly look for humourous and surreal moments in my street photos.

But whatever it is, usually if you go back a minute or two later that good photo has gone. Again it comes back to that wanting to be challenged. Generally if it’s an easy street photo capture then it’s unlikely to be a good street photo. If you’re just taking random photos of people walking on the street that’s all you have, people doing exactly what you expect them to be doing. A good street photo finds something out of context.

Why did you choose Wallington in deepest south west London to shoot your series?

Sometimes people feel they have to head into major urban centres to do street photography. As I said above, you can literally do it by opening your front door and stepping out. Wallington is a residential area built around a main shopping street. It’s hardly somewhere someone would come specifically to shoot street photography.

Plus it’s home, so I wanted to see what I could come up with and put Wallington on the map!

© Darren Lehane

Your series was captured within a two hour time span. How did you feel shooting a series over such a short period of time?

Well I specifically undertook this shoot with Urban Street Diving in mind. As I’ve said a couple of times, I want to continually challenge myself with street photography. Limiting myself to just two hours in a place that’s not exactly the most thriving of urban centres was going to be difficult in coming up with images I deemed good enough, and yes it felt tough.

We all know that the best street photography portfolios develop over years and those absolute keepers only come a few times a year. So shooting a series in such a tight time frame and location was the exact challenge I wanted.

Anything else you want to talk about or share with our readers.

If you’re not yet doing street photography yet then just do it and keep doing it. It can take years to properly “get it” and by that I mean not only getting good street photos for your portfolio but actually understanding what street photography actually is.

I always says to people there’s a huge difference between “street photography” and ‘photography on the street”. Once you finally get that, you’ll be a street photographer.

If you’re already doing street photography, then what are you waiting for? Get out there and do a street dive to submit here. It’s really a rewarding experience.

Where can we find more of your work?

My street photography website is www.dlehanestreet.co.uk my newish blog is: www.darrenlehane.me and my street Instagram is www.instagram.com/thatdarrenlehane

And you can see my wedding photojournalism at www.lehanewedding.photos

Thanks so much again for the opportunity!

Thanks Darren!

Urban Street Diving Tadashi Onishi

On the transition from home to work

Published by Andreas Ott

Tadashi Onishi about photographing in Shinjuku, Tokyo, his transition from home to work.

Tadashi, please introduce yourself briefly.

I am a street photographer based and born in Tokyo, Japan. I started shooting on the streets in 2014. I am a self-taught photographer, attended workshops like “Resist” by Masayuki Yoshinaga and Daido Moriyama in 2015 and a documentary workshop by Q. Sakamaki and Toshiki Toyama at the Tokyo photographic art museum in 2016.

I held my solo exhibition “Zebra The City” at Konika-Minolta gallery at Shinjuku, Tokyo in 2016. Trieste Photo Days had published my book “Lost in Shinjuku” in 2017 and I am a member of the street photography zine publisher VoidTokyo.

Let us start with a short but not that simple question. Why do you photograph?

I want to photograph the city and street life combined with social nature, to find a common ground between street and documentary photography in Tokyo. I believe street photography has the power to motivate people to live in the city.

What makes Shinjuku, one of the most populous parts of Tokyo, so special for you and what do you look for when photographing out on the streets of your city?

I photograph what I see around me where I am. That is the basis of photography to me. Shinjuku is just one of the places on my way to work. However, as you said,  Shinjuku has many people passing by and being there, I feel many various emotions.

But actually I am just one of those people. Shinjuku is like a transfer station to me, where I can / should switch my mind from home to work.

In all of your series, you focus on the human element and their relationship with the city. Where does this motivation come from?

As for the Shinjuku series, to relax myself is my motivation to photograph there. There are the accumulated fragments of my life, feelings and coincidences between society and me.

When I am in Shinjuku in the morning, I have very anxious feelings. By every click, my bad feelings dissapear and transform into the fragments that represent my life. So when the people see my photograph, they hopefully can read my feelings and understand why I shot it.

In this regard, are people from Tokyo somehow different than people from other cites?

I feel like Tokyo is too busy, noisy and suffocating. Tokyo also has a very high suicide rate. On the other hand, Tokyo is a very attractive city related to art, culture, play and work. That is why Tokyo has the highest population in Japan. To me, the possibility to meet the diversified life is very attractive.

Your submitted series was shot over a short period of time on the morning of 15. January 2018. Please tell us a bit about the atmosphere and your approach that morning.

It was a sunny but not very warm morning. It seemed that there was nothing special going on in the city.

I just started to walk as usual, as I walk every morning. Nothing happened in Kabuki-cho area, I just passed there. Then I headed to JR Shinjuku station. There was good light falling on the commuting people, but I could not catch it well. Then I went into the station and shot the trains and people at the platform. I photographed people with masks getting on and off the trains and tried to shoot the reflections on the train windows. Then I left Shinjuku to work.

Urban Street Diving Tadashi Onishi Urban Street Diving Tadashi Onishi Urban Street Diving Tadashi Onishi Urban Street Diving Tadashi Onishi Urban Street Diving Tadashi Onishi Urban Street Diving Tadashi Onishi Urban Street Diving Tadashi Onishi Urban Street Diving Tadashi Onishi Urban Street Diving Tadashi Onishi

© Tadashi Onishi

You are a member of Void Tokio, a collective focusing on photographing today’s ever-changing Tokyo. Please tell us a bit about the latest activities of the group.

We have published Vol.1 and Vol.2. Now we are editing the Vol.3, that will be published on February 2018. We are always trying to top the images of previous publications. Vol.3 will be a very exciting issue. We hope it will work. Stay tuned on www.voidtokyo.media for our next issue.

What are your personal future plans in photography?

I will participate in the photo exhibition “Street tales” at the Euro Photo Festival in Milan from 18. March to 30. April 2018. I will hold my solo exhibition “Transit station” at Nikon Salon Ginza in April 2018 and Nikon Salon Osaka in May 2018. This year I am trying to finish some projects that I have been working on.

Where can we find more of your work?

www.tadashionishi.com
www.instagram.com/tadashionishi
www.facebook.com/tadashi.onishi.3
www.twitter.com/tadashionishiz

Thank you Tadashi!