Street photography

Not long ago, I was busy researching and writing my third novel, Serafim & Claire, which is set in the 1920s and follows the life of an early street photographer, an art that was, at the time, just in its infancy, but about to give birth to modern-day photojournalism.

As I finished the novel I was lucky enough to be living in Paris, the city of so many street-photography greats: Robert Doisneau, Willy Ronis, Brassaï, and of course the ‘father of street photography,’ Henri Cartier-Bresson. For my research, I spent much of my spare time in galleries and museums, trying to get into the minds of these talented men and women, and had soon developed a sense of aesthetic that was directly in line with theirs. At the same time, for the sake of research, I took to the streets with a camera, where I began to feel a draw towards photography that was equal to the one I felt for writing.

So, in keeping with a long tradition, I set some strict rules for myself: No posing; all of these shots are candid, of strangers, and taken on the sly. And while I'm a proud inhabitant of the 21st century (and shoot in digital), I refuse to Photoshop, only manipulating my photos in ways that can be done in a traditional darkroom, cropping, adjusting contrast, dodging, and burning-in.

These albums are a portfolio of my initial work in Paris, following that tradition.