Dejavu

Photography E-Magazine
June, 2019

Featured Artist
Fawad Malik

Impressions
Olga Merrill

InFocus Basic Rules of

Composition

Mou Aysha George

Digalakis

Unfold
Daniel
Castonguay
Cover Photo Mou Aysha
 Editorial Note Editorial Team CONTRIBUTORS

Just a few months ago, it was my dream to publish

a magazine and promote photography in Pakistan. Syed Uzair
Can’t believe I am already writing editorial for the Chief Editor George Digalakis
Mou Aysha
second edition. We started off with a team of two, Instagram/mou_aysha digalakisphotography.com
but there have been some amazingly talented Instagram/georgedigalakis
additions along the way. Amna Baloch Rind is
one such addition, who has done an exceptional
job with the “Inside” section.
We have received an overwhelming response for
Syed Abid
the first edition, and we hope even better for the Art Director
second. I am excited to have George Digalakis as
Daniel Castonguay
a regular contributor. His section is my personal Fawad Malik
Instagram/fawadmalikphotography www.dancastudios.com
favorite and his blog is one of the top 25 black Instagram/daniel.castonguay.165
and white photography blogs for obvious reasons. Stephanie Johnson
We have introduced a section for creative Editor
photographers and Olga Meril is first to be
featured in this section. Being an impressionistic
photographer I’ve always admired her work and
I’m thrilled to be sharing it.
I would like to thank all the artists for submitting
Waqas Ahmed Olga Merrill
Islamabad Umaima Tanweer
their beautiful work and hope their work will Instagram/umaimaumi www.olgamerrill.com
reach a wider audience and get the appreciation it Correspondent Instagram/merrill.olga
deserves. Mou Aysha for taking time out, Studio
Seven Gallery for their cooperation during their
event “Maidaan”, and everyone at Deja Vu for
making this happen.
Amna Baloch
Karachi
Syed Uzair Correspondent
Shahzad
Adrian Whear Muhammad Ali
Instagram/adtamo
Instagram/shehzad_mohammad_ali

1 2
 In This Issue...
Infocus Featured Impressions Unfold Emerging Inside Basic Rules In The
Artist Artists of Composition Streets

Aysha Fawad Olga Daniel Umaima Tanweer Studio Seven George Adrian
Mou Malik Merrill Castonguay & (By Amna Baloch) Digalakis Whear
Shehzad
Muhammaad

3 4
 InFocus
Mou Aysha
Q. Can you tell us a little bit about
yourself and your journey as a
photographer?
A. Since childhood, I have been
fascinated with people and their
faces. I grew up in the northern
part of Bangladesh and from a
young age, I saw a lot of people
and their children from the islands.
Their faces were always different
from other people I had seen. They
were burnt with the sun, had a lot
of scratches on their faces, and
their eyes were red. All those faces
grabbed my attention as a child. One
of my main reasons for becoming a
photographer was to capture those
faces and bring more light to them.
5 6
I wanted to share their beautiful
and unique faces with others.
I have always loved people and
have always wanted to learn
about them up close. People, their
culture, and their experiences have
always captivated me. I found that
photography gives me opportunities
to go and learn about people and
their life journeys.
I started photography as a passion
and now I dedicate myself to
capturing the best moments of life
as I see and feel them. I believe
that with empathy, compassion,
and love, we can change the world
for the better as artists. I am a
positive person who sees beauty in
everything.
 Q. Do you have any particular thought process you
go through when you frame an image?
A. Before every single photo I take, I spend a good
amount of time with those people. I try to get as
close as possible to them. I try to become one of
them or at least be accepted in their presence.
Only after that do I start taking photos. Emotional
connection is very important to me and to capture
that I use simplicity in my presentation. The main
challenge of my work is bringing out the emotion
in it’s simplest form. With my images, I want to
tug at your heart intensely.
Q. Do you have a favorite image you’ve created?
Can you tell us about it?
A. I basically take portraits of children who are
marginalized, living on the outskirts of cities.
I have a special affection for children’s portraits
and, therefore, have produced an extensive series
of them. Genuine smiles, emotions, and children’s
stories attract me the most.
These peripheral groups of children go through
very difficult times, but still, they manage to smile
and persevere. To me, they seem like heroes.
Furthermore, I have encountered the
determination of these children and adults that I
want to share with my viewers so they also know
that anything is possible with perseverance.
7 8
Q. How would you describe your personal style and
vision? And what influences or pushes you in that
creative vision you’ve developed for yourself?
A. I take simple images primarily of people. I try
to take portraiture images with simplicity, but
which also reflect a soulful mood and a deep
human connection. For me, people are more
important than any defined photography style
I follow. I love meeting people. In every area,
people look and behave differently. Their faces
and their stories motivate me a great deal. I am
more fascinated by interactions with people than
I am with photography of landscapes of places.
Q. In what ways does your photography work
influence you as a person?
A. Photography changed my life. Because of
photography, I travel intensely around my country
which has helped me to meet some incredible
people from different cultures and backgrounds.
Their life experiences changed my views on life
itself. I have learned that simplicity is the key to a
satisfying life. These people make me understand
how beautiful life is and how easy it is to help
each other. I always want to do something for
them rather than only taking their photos. They
are more important to me than my photos. My
experiences have taught me empathy. I can see
my personal evolution because of photography.
 Q. Who are some of your favorite photographers, both
current and past, who’ve influenced your work and
development as a photographer?

A. My first master photographer with whom I studied,

is GMB Akash. His expertise and his outstanding work,
have had a huge impact on my desire to seriously continue
with photography. There are others, many of whom are in
Bangladesh that have been inspirational for me as artists.
But, what impresses most about GMB Akash’s work is
that it goes beyond the art and actually helps the people
he photographs in his humanitarian activities.

Q. Tell us about your workflow and which software you use

to edit your images.

A. I use Lightroom for editing my images and I try

to keep them as simple as possible. I don’t like over-
editing.

Q. What is your go-to lens and why?

A . 24-70 mm 2.8 is my go-to lens. I can cover almost

everything through this lens.

Q. In this day and age, with technologies changing so rapidly,

continued learning is crucial. What do you currently find
yourself learning more of, or perhaps re-learning?

A.Actually, I do not care so much about technologies although

I do keep up on major breakthroughs in photography
technologies and IT. I’m very close to and comfortable with my
own photography equipment which enables me to be free, to
focus more on my subject. But I do learn and re-learn a great
deal by reading about, following, and personally meeting
accomplished photographers whenever possible. My main
focus and continued learning efforts are on the relationship
with the people I am photographing, which is the ultimate
determining factor of the value of my subsequent images.

9 10
 Featured Artist

Fawad Malik
I am a Pakistan based portrait
photographer. I started
Photography back in 2013
in Dubai as a hobby. Soon I
realised my passion for it and
started learning from online
tutorials and video courses.
I’ve won various National and
International Awards recently. drama and bring out the subtle Every picture demands a
I believe every person is details. My favourite lighting is different Post processing
unique and capturing those single light with diffusers. My treatment. So I read the emotion
unique emotions has its own go to lens is 85mm.Its shallow and message of the photo, and
challenge. Working In studio depth of filed allows me to edit it according to my final
gives me more control over separate the background which vision.
qualitiy and direction of light, further enhances the details of
which allows me to add more my subjects.
11 12
 Impressions
Olga Merrill

I consider myself an abstract photographer who joined the photography world a

few years ago. I remember my first connection with photography. My father was
a hobbyist photographer and I still remember the smell of chemicals from being
with him in his darkroom. In 2015 I received a camera as a gift and my view of
this world changed forever. Who knew that more than 35 years later, photography
would be a big part of my life.

13 14
 to challenge myself and unleash my
creativity. I just say to myself what
if? and why not? Experiments and
exercises are an important part of
my photo journey, where there are
no restrictions and no rules to follow.
My creative process often starts with
visualization. It’s important for me
to know my camera really well and
have good post-processing skills. But
practicing to see, ignoring the mind
and using my heart and intuition is
really what leads me in photography.

Thanks to Eva Polak’s work, it

didn’t take me long to realize
that I am attracted to abstract
and impressionistic photography.
Because I am a dreamer and an
explorer. Abstract photography,
with its endless possibilities and
experiences, allows me to create
what I imagine, and how I feel as a
person. For me abstract photography
is the process of seeing the world
differently, seeing everyday things
as shapes, colors, and patterns. I like

15 16

Harbor series
I did this series in Maine’s harbors attending
sailing events in 2017-2018. I love traveling
and I dream about sailing from place to place.
Views of the ocean give me fairytale visions
where boats play a major role. The coast of
Maine with a long maritime tradition and
many other harbors Inspired me to create
this series.
17
intriguing artworks. Abstract photography is a
passion for me and I am happy that I found a way
to express myself through this style. I invite people
to look at my work with their interpretations. I
agree with photographers who think that not all
photos have a story. The more they look the more
they wonder and contemplate. If at different times
of the day and in different moods, viewers looking
at my work can experience different feelings and
want to look at it again. I can say it is a great
achievement.
Developing a unique style is my big dream and
goal as an artist. How and when will I find my
complete vision and my style? I don’t know but I
am really enjoying the process for now.
Post-processing of this series is very
simple. My original images are panning
“ My eyes and intuition lead me
shots usually done at shutter speeds of 1/8
-1/15, for the painterly quality. I added the
same two textures for most images to keep
the series consistent. I played with opacity
and blending modes in Photoshop. I also
used Nik collection to adjust the overall
in my Photography.”
tonal range. It took around 20 minutes or
less to edit the final images.
I love creating painterly, mysterious,
18
 Sheahzad Muhammad
Emerging Artists I am a photographer from Pasni Balochistan. In 2016 I
did a diploma in photography from Karachi. I am a an
astro and fashion photographer.
I like spending time in the mountains and on the
beaches at night. I love starring at the starts under open
skies. I use wide and ultra wide angle lenses to show the
limitlessness of the sky. 14-24 f 2.8 and 15mm fisheye
2.8 are my go-to lenses. I usually take 50 min exposure
for star trails in camera or anywhere between 50 to
500 shots of 30-sec exposure and stack them in post-
production. My images are mostly low key, dark and
moody which define me as a person.

Shehzad Muhammad
&
Umaima Tanweer

19 20
 Umaima
Tanweer
I am a graphic designer and Product photographer
currently working in a renowned firm. My former
degrees are BS(Mathematics) and MBA. When I
started photography, some 3 and a half years ago,
I had no formal education. In 2018, I completed
Visual Communication Design from NCA, Lahore.
Initially, I took pictures with my phone. One day
my phone photography picture won a Gold Medal
in Architecture Photography competition. That day
I decided to take it professionally. Ever since I’ve
won many Awards and I have been published and
exhibited Nationally and Internationally.
In photography, I basically work with the play of light, especially the
Golden and Blue hours. First rays of light and golden hours fascinate me
so much. I am a big chaser of light. For me, light is a symbol of hope and
joy, and that reflects in my work too.
Whether it is a landscape or an architectural composition or a simple street
shot, I capture the nuance and play of light.

21 22
 Unfold
Daniel Castonguay

My name is Daniel Castonguay, I’m a street

photographer based in Montreal, Canada.
I started photography in 1979. Living in a
Post-Processing
great city, I was naturally driven to street
Post-production work begins right at the
photography and depicting the quotidian
time of shooting. The first aspect that
life in its simplest form. When I started
I consider is in fact connected to the
photography, I worked according to the
light, and of course, to the exposure of
established standards of the style. At a
the points of interest. I try to detach the
certain point, I got bored of not being able
subject compared to the whole framing,
to illustrate the mood of the “moment”
separating the main character from the
in order to give a more authentic touch
rest of the scene/story. Having single
to my work. Challenging the rules, I
primary subject compositions have a lot
began to process my imagery to make it
more impact than a composition with
mysterious. I started combining simple
several. It is naturally easier to relate to
moments of life with my state of mind,
a single character story as opposed to a
hence the name of my series “Quotidian
juxtaposition against a group.
Life”.
In my works, bad weather and dark mood
The quotidian life is more or less the
are omnipresent. I like to shoot on dark
same for all with a few variations. A part
days and rainy or snowy days. One of the
of my work as a photographer is to bring
reasons is that the subjects are in a state
this daily life into a world of fantasy,
of resilience and it shows in their attitude
something related to abstraction. This
and gesture and that brings the mood to
creates a duality, a paradox. The paradox
the image.
of the ordinary life in a universe that
exists only in one’s own imagination.

23 24

Textures are a predominant part
of my work. Texture is not like
a laid blanket on a bed, the use
of textures is more subtle, and
must be added where needed to
add to the mood of the image.
It often happens that several
25
textures are used for an image,
Colors have a psychological
effect on the mood for
example, the green and blue
colors appeal to hope and
calm while the red and pink
colors are more related to
passion and are much more
intense from an emotional
point of view.
W Post-production is not
not embedded one over the other
just a simple step in the
but rather parts of them. It is
development of an image, it
difficult to document and there
is a way of enhancing a story,
is not really any simple solution
as well as, a way of depicting
as to the use of selective textures,
your interpretation of the
it’s a matter of inspiration when
moment.for the entire image.
processing and this method will
I believe that using this color
make the work somehow unique. 26
 Inside

Maidan

Studio Seven gallery was Established in 2016 in

both, Dubai and Karachi. What differentiates
Studio Seven from other galleries, is that they
promote young and emerging artists who have
yet to make a name in the field of art. Quality
of work is the only preference. It’s one of the
very few galleries in Pakistan that exhibit
photography.
Besides exhibitions, they also arrange
summer camps and workshops.
They’ve recently announced a Lto R : Marium Ansari, Maham Nadeem, Nadeem Al Karimie, Hassaan Aslam, Anusha Ramchand

residency program titled “Kaarigari”,

which welcomes artists from all
genre. There is no restriction
of theme and artists have the
freedom to express themselves
in their own medium.
Maidaan was Studio Seven’s 46th exhibition, held in April
2019. It was a group show of 5 Emerging artists, four from
NCA and one from Indus Valley. The idea of this exhibition
was to provide an introductory ground for fresh graduates
and welcome their unique perception of beauty and
struggles of today’s time.

27 28
 Nadeem Alkarimie
Only photographer of the show,
Nadeem’s images are all about
rapid change and living many lives
simultaneously by an individual. Two
opposite shades of colors and the
forgotten tones in between. Brilliant
stories through lens are depicted in
his pictures. A natural lifestyle is
somehow seen in his images.
29
“Movements like Italian new wave
and dogma 95 influenced me
subconsciously and inspired me to
explore human behaviors. I enjoy
sitting on neutral ground without any
judgment and explore human face
as a landscape of expressions”, said
Nadeem.
He has been traveling to make images
of the nomadic lifestyle of people
and landscapes. He is still exploring,
trying to find the answer to what is it
that keeps him going, loving every bit
of this creative journey.
30
 Anusha
Ramchand

Born as a Hindu, Anusha Ramchand In her interview, Anusha said,

questions society’s shortcomings “I feel rays of judgment and
and social stigma of racism.She bias piercing through
tells the story of a country where me, simply because
inequality and racism triumphs I don’t belong to the
over humanity. Where people are conventional majority.
treated according to their religion, I am trying to solve these
sect, and cast. Her artworks include discriminations in our society
”untitled” and “Can you? Can through my artwork”.
you tell me who I am”?
where she presents a
girl, stripped off of her
religion, sect, cast an
even her name in an
effort to be accepted
for what she is.

31 32
 Marium Ansari
HASSAAN ASLAM
The only artist from Indus Valley School
of Art, Hassaan Aslam designed a digital
An Artist, from NCA, Marium Ansari depicts nature in a very unique and emotional perspective. form of tree known as “underground”.
Her artworks, “Ponder”, “Rooted”, “Epiphany” and “Our existence is but a brief crack of light, His idea was to show the importance
between two eternities of darkness”, emphasize the need to connect with nature, to feel “one” of comforting, yet often overlooked,
with creations around us. Her work describes an emotional state of self-discovery, acceptance shade of trees. His second artwork
and an effort to connect with the core. It revolves around the compelling need to visit unexplored named, “Thandi Hawa” was about the
territories within us all, so as finally be able to unite with who we are. natural movement of plants and leaves.
33
During his thesis, he photographed
the shadows of trees and how it
served the purpose of beauty. He
then drew their contours digitally
and used them to design innovative
furniture, to make the design look
more organic and unconventional
than what we normally see.
34
 Maham Nadeem

Maham Nadeem presents in her artwork the noxious behavior of the “social media” generation. Her
artwork includes, “You Follow”, “10K”, “Influencer” and “Malfunction”. Maham in her interview
admittedly said, “Sadly but yes I am a part of it”. Her artwork reflects the superiority and materialism
which is being promoted on social media. Her artwork “influencer” portray how people wear a fake
crown of fame, based on the number likes and followers, and how people are influenced to wear
certain designers, buy certain products and eat at certain places just to keep up with the trends.
She believes this confused and ungrateful generation is never satisfied and is constantly looking for
society’s approval.

35 36
 Basic Principles of Composition
George Digalakis

On the other hand diagonal lines interact

with the vertical and horizontal lines of
In the tutorial series “ Tutorials for aspiring, amateur photographers”, I will try to analyze some of the
the frame creating tension and dynamism.
essential principles of Composition and design. In this post - the 1st of a series of 3 articles, I'll look at
the topic of the Frame and its dynamics.

FRAME
The frame of a photograph, almost always rectangular in contemporary photography, plays a decisive
role on and influences the content of the image. If the subject is a landscape there is plenty of time
to study it and decide on the frame. In moving objects though, as is the case in street photography,
time is a luxury and decisions are usually taken instinctively, based on one's theoretical knowledge of
composition and experience. The combination of these two factors shape how the photographer sees
things and evaluates the scenes of real life as potential pictures. Frame’s Format
In the era of analog photography the usual format was 3:2. Today the 4:3 format has gained ground in
Frame Dynamics digital cameras. This ratio is considered more natural and fits better in print papers and screens.
Depending on the subject and the way we photograph it, the frame can have a
strong influence in the way we perceive the image, as it interacts with the lines in the The dominant format is the horizontal one (the long side of the frame is horizontal), but the opposite
photograph. is true for long, standing objects, where the vertical form is more natural.

Lines parallel to the frame emphasize the geometry of the subject. A narrow frame (e.g. panoram-
ic) that removes part of the theme could offer a more abstract look.
37 38
 Other themes that fit well in the square frame are symmetrical and radial objects, because of its implied
visual center and equal sides. The same is true for circular objects, as there is a correlation between the
circular and square format.

Human visual field. The human eye perceives the

world horizontally. This is the reason we accept
the horizontal frame as more natural. It has to be
noted that the human vision field is not a parallel-
ogram, but oval, something that in photography
corresponds to applying a vignette in the frame’s
edges
The off center placement of the main theme gives
the viewer’s gaze the opportunity to move within
the frame, before settling on the primary point of
interest. The low placement of the subject gives a
Symmetrical Radial Circular
sense of stability in the image.
Panoramic Image. A special frame format with multiple images merged together via a process called
stitching. In this case the eye catches only a part of the image in any given moment, but this is perfectly
acceptable as it mimics the way in which we usually perceive the scenes of real life.

The Square Frame. Filling the Frame

This is the most difficult format because the majority of subjects have a prominent axis, which is more
natural for the frame to follow. The square frame is the prevailing format in Fine Art photography.
Themes that best fit the square format are those with multiple axes or repeated objects (patterns).
When confronted with an interesting subject, we tend to move closer and fill our frame with it. A soli-
tary, striking theme is an example of the above, but it is always worth considering including part of the
environment. Getting closer is justified if we want to record all the little details: An extraordinary sub-
ject, rich in information, requires a different approach, than an ordinary theme – for example a stray
dog, where inclusion of its environment is advisable.

A bicyclist in the urban environment is an ordi-

nary and mostly uninteresting view. Including oth-
er elements from the surrounding space and em-
phasizing the interactions between our structural
elements, however, makes for an interesting and
storytelling image.

In this photo, there are 3 axes – the horizon line and the fence (horizontal), the tree (vertical)
and the light rays (diagonal), making it suitable for a square frame format.
39 40
 Another factor to be taken into account is what we want to imprint on the viewer. if the object is im-
portant as a presence, it is logical to fill the frame with it. This way it gains power and impresses the
viewer.
Although the decision is dependent on the photographer’s intentions, a bit of space around the theme
is always advisable so that it can breathe.
Placing of the theme
If including the environment is our choice, then we have to decide where to put it in the frame. It seems
reasonable to put it in the center and in many cases this is the best choice. This is, however, a predictable
and boring solution without any dynamism. On the other hand, the decision to put it in any other place
requires a justification – for example if we decide to put it in the angle of an empty frame. The eccentric
placement can work very well, if for example our aim is to emphasize the connection of the theme with
the environment or the scale. Surprising the viewer, is also a good justification for it.
When the background is important and contributes to the idea, then it is worth trying a composition
where our theme occupies only a small part of the frame.

In practice, there are always other objects in photography (in the images above the clouds or fore-
ground items) that influence / help us decide the proper placement of the main theme.

Direction is yet another fac-

tor that we have to take into
consideration. If for example
our theme is moving, then it
is better to show it entering
the scene, than leaving it. The
same is true for objects that
appear to be looking at some-
thing outside the frame: They
require space for their gaze to
A detail of Tate Modern. Including a limited surrounding space helps in defining the theme and em-
wander.
phasizes its lines.
Compare these images, concerning the location of the theme.
41 42
 Dividing the Frame
Any image has one or more elements that divide or give the impression of dividing the frame. The obvi-
ous one is the horizon, but even a small object could create this impression. When the frame is divided
in two directions (e.g. one horizontal and one vertical) then a point of intersection is created. This point
is especially appropriate for placing our subject.
In principle, any integrated subdivision of the frame, creates a sense of harmony. Most of the subdivi-
sions are rectangular, but the diagonals could also be used to create triangular spaces.
Frame in the Frame
One of the most impressive design patterns is the inclusion of elements that form an internal / sec-
ondary frame, which emphasizes the different levels of the image, helps in defining the scale and leads
the eye to the main theme. It is a window through which we look at the world. The branches of a tree,
shadows or a real window could be used for this purpose.

Horizon
The more obvious case of the frame’s division is the horizon line, as it is the prominent design element
of the image. The question to answer first is where to put the horizon, with the lower third being the
more natural choice, as it gives a sense of stability.

Another factor to be taken into account when deciding the placing of the horizon is the visual impact
of the elements above or below it and whether we want to include them in the composition or not. If
for example the foreground is not interesting, while the sky is impressive then we can place the horizon
line low in the frame. The opposite is true if we have an empty, boring sky.

As is the case with every decision about the composition, there must always be a reason for our choice,
as there are often more than one solutions for the proper placement. In conclusion, our intention of
what we want to express and how is the decisive factor for our choices.

Another parameter of the internal frame is that it suggests an internal structure and organization,
creates a sense of stability and prevents the beholder's eye escaping from the frame. The tendency for
organization is inherently human and the internal frame indicates that the photographer has control
over the arrangement of the elements.

From a pure design perspective the internal frame leads the eye into the image's next layer towards the
center, especially if it is similar in shape, parallel and in a short distance from the external frame.

To be continued...

https://www.digalakisphotography.com
3 different placements of the horizon, based on the visual interest of the foreground and the sky. https://www.facebook.com/GeorgeDigalakisPhotography
https://www.aolfineart.com/

43 44
 In The Streets
Adrian Whear
I am not a street photographer who has studied
the works of the renown pioneers of the genre,
nor have I completed a photography qualifica-
tion. I am simply a self-taught amateur photog-
rapher who loves walking in the streets of Mel-
bourne and its inner suburbs. If I happen to get
some reasonable frames during these walks, then
that’s a bonus.
What is street photography? If you posed this
question to 10 street photographers, I am cer-
tain you will receive 10 different responses. For
me, street photography is a genre of documenta-
ry photography. One where the photographer is
45
the author of the scene, unlike photojournalism
where photographer becomes the narrator. What
attracted me to street photography was the op-
portunity to find and capture a candid moment
in time, that in all likelihood will never happen in
that exact same manner, ever again.
Photographers often talk about the creative pro-
cess. Sometimes I ask myself “What is my creative
process? Do I even have one? First and foremost,
I look for anything that attracts my eye. For me,
the most important skills of street photographer
are observation, interpretation, and visualization.
So I look for - contrast, be it light and shadow,
46
 colours, juxtaposition, etc. For most part,
my process is to find a background first.
This could be a street art, advertising, ar-
chitecture, geometrical shapes and pat-
terns, shadows, even the sky. Once I have
a background, I then develop my vision
for the scene, compose and determine the
camera settings. Then I just wait for the
right subject to enter my scene. It does
not always happen and often I have to
47
re-visit the scene on multiple occasions to
get the frame I have in mind. Other times
it all happens very quickly, so you have to
always be prepared.
As a street photographer, my ultimate aim
is to capture an ordinary everyday scene
in an extraordinary way. In the past few “For me, the most important skills of
years, I have learnt to be patient and trust
the process. That’s what street photogra- street photographer are observation,
phy is all about.
interpretation, and visualization.”
48
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