Color Explorer: Harry Gruyaert

Colin Westerbeck and Joel Meyerowitz, in their book on the history of street photography, argue that photography itself was born in the street, and that street photography sits at the very heart of photographic practice. In your view, what is the enduring allure of street photography?
I love the street because it is an open space. You are free. I work with a certain tension. A bit like a pickpocket. I rarely talk to people. The quality of light and the architecture are as important as the people themselves. In my work, I try to bring order out of chaos.

You transitioned to digital in the 2000s. Photography itself has gone through many transformations—from paper negatives to digital. Accepting these changes can also help photographers grow and lead to new directions. Did this shift make a difference for you? Do you still shoot film?
The only color film I loved was Kodachrome; Kodak stopped producing it in the early 2000s. That’s why I had to switch to digital. At first, I didn’t like the quality, but it became much better later. We work a lot on the files. The advantage of digital photography is that you can work in lower light conditions more than you ever could with slide film like Kodachrome.

You studied film and photography at university. Did your interest in cinema continue afterward? Did you ever think of writing or directing your own film?
I shot several films as a director of photography. If we had had digital cameras of today’s quality back then, I probably would have made more films. Shooting on film was much more expensive and required many people to work around it.

You once said, “If I don’t take pictures for a while, I don’t feel well. It’s a vital need.” I deeply relate to this. Do you find greater satisfaction in sharing your work with the world and communicating through it, or is the act of taking the picture itself what fulfills you?
What matters is that I am satisfied with what I do. If the public enjoys my work and takes pleasure in it, I’m happy. I don’t claim to be making art. That is for others to decide. I am a photographer.

Are there photographers in Turkey whose work you follow?
Arif Asçı, who later became a painter. Emin Özmen, a Magnum Photos photographer.

Lastly, as a photographer, I often feel uneasy when my own photo is taken. I’m curious—are you comfortable being photographed yourself?
It’s not something I prefer.

Harry Gruyaert, who perceives the street most vividly through its colors and senses the potential of light in life’s still moments, will be presenting his first Istanbul series at 212 Photography, opening on September 27 at Akaretler No:49.

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