Guest curator Barbara van Schaik, who runs the Shots of Backs are Boring street photography group on Flickr.
women photographers
Galia Nazaryants
Street Chat
Please tell us a little about yourself. Where are you from, where do you live now? Your background with photography, how and when you were drawn to the street genre.
I was born and raised in Russia, and have been living in Cyprus for almost 20 years. My photographic journey began in 2003 when I went to study interior design — I was always fascinated with homes and structures. My love of photography emerged then, but it was only in 2014 that I decided to take it to another level by attending workshops, and submitting my work to competitions. First prize at the 2014 Vienna International Photo Awards was a breakthrough that gave me strength and desire to follow that path. In 2015, I held my first solo exhibit in Limassol, where I live. From there the exhibit traveled to La Quatrieme Image in Paris. 2016 surprised me with two assignments I got from The Wall Street Journal, first was in Cyprus, second in Israel. But my main interest always was, and remains in the street. I love the magic of unposed photography, and my subjects are always genuine. I am fascinated with genuineness — hence the street genre.
How do you define “street photography” for yourself?
Street photography in my point of view is anything photographed in the street, and that is my main field of activity. I wouldn’t call myself a street photographer though. I try not to stick to the common approach of the street photography, i.e. catching funny and ridiculous situations, etc. I am out there to collect magic moments, and try to do it with a fine art approach. I look at each of my shots as if it would be a painting, preferably with a surreal feel, and with the right composition, harmonious lines, shapes and colors.
Does your local situation affect how you are able to shoot? Is there a political climate, social attitudes (or laws) about photographing people in public, or another local factor?
Photographing in Cyprus is not difficult. It is a tourist destination, so I suppose people are used to seeing a camera in action. My problem is that I almost don’t even shoot where I live — my main inspiration being newness, a fresh sight, the unknown — that’s why my photography goes hand in hand with my travelling. I also feel that staying long periods of time without shooting allows me to accumulate energy needed for the next trip, and all my trips therefore become very productive.
In what ways do you think being a woman has affected your work?
I think being a woman probably brings more delicate and respectful approach towards people in the street, but generally I don’t like that division. We are men and women of course, but first of all we are human beings. There are people sensitive and heartless, compassionate and hateful, warm and mean, etc. And it is not ruled by sex.
Color or black and white, digital or film?
When I started photographing seriously back in 2003, I’d been using film for a year only. Then I switched to digital, as photography was both an inspiration and a useful tool during my studies. The digital camera was a source of enormous creative possibilities and ideas for me. Since then, I stick to my Nikon with zoom lens, which allows me to shoot a great variety of pictures.
If you see my “Where stories come from” portfolio on Instagram, the answer to the first part of the question is pretty obvious. Color, color and again color!! I still have a few good black and white shots, but these are by-products, as the first thing that catches my eye in the street is “His Majesty Color.”
What photographers can you name who are the most inspirational to you?
Alex Webb is the one who blew my mind with his color photography. Harry Gruyaert is amazing. Nikos Economopoulos made a huge impact on what I am doing now. I’d chosen him for one of my projects back in 2004, during my studies, and again ten years later, when I went to his workshop in Istanbul that brought me the prize in Vienna.
Is there a special project you are working on? Or recurring themes you are often drawn to?
I would call myself an intuitive traveling photographer, looking for beauty in the streets of the world. I don’t want to limit myself to a certain theme or story. That’s why normally I don’t do projects or pursue any particular goal. I simply observe and react and it perfectly works for me.
Hardcore Balloon Photography


































Drive Mode
Street photography framed by car windows
Susan Catherine Weber
Street Chat
Please tell us a little about yourself. Where are you from, where do you live now? Your background with photography, how and when you were drawn to the street genre.
Born and raised in Aurora, Illinois and at the age of 17, my family then moved to Scottsdale, Arizona. College years were spent in Flagstaff. After that I worked and lived in Phoenix for a few years. Lived in Denver for a few summers. That was fun. In 1987 I moved to the Los Angeles area. The South Bay is where I started, then Hollywood, Orange County, back to the city in various neighborhoods; West L.A., Mid-City, Silverlake and Highland Park. Pasadena is my home now.
I took photography classes in college. I was more of a fan of the medium than a participant back then. I came to know the work of Helen Levitt, Mary Ellen Mark, Diane Arbus. All women, interestingly enough, I was obsessed with them. One day I saw a William Eggleston exhibition. That show really resonated with me especially the message plastered on the wall of the gallery, “At war with the obvious.” Maybe it was the graphic designer in me that enjoyed the colors and compositions. I’m not really sure, nor does it really matter. But I’m pretty sure that’s when I began walking around with a camera. I do recall telling someone once back then, I’d like to shoot like Helen Levitt with an Eggleston influence. I still really like that idea.
How do you define “street photography” for yourself?
Well, maybe the old story teller in me wants there to be a story in my photograph. The graphic designer in me wants to accomplish interesting color palettes in a photo and pleasing compositions. The struggle is sometimes to leave that academic behavior behind and shoot photographs by simply reacting. React to what I see, feel, hear and maybe even smell. Try to grab a scene as a story. What’s that story from an unusual angle? What’s the story, that I see but other’s might be missing.
I suppose I don’t really have the definition pinpointed for myself. I’m not sure I am a street photographer or at least, I’m still looking for what that is to me.
I’m visual. I live in a very big city. It’s extremely accessible. I like stories. I like people. I like weird/touching/funny moments. Mostly, I find it crazy challenging.
I don’t really come from the camp that “street photography” means it has to have people in it. Evidence that people were there is “street” enough to me.
Does your local situation affect how you are able to shoot? Is there a political climate, social attitudes (or laws) about photographing people in public, or another local factor?
Los Angeles is a really easy city to shoot in. It just depends on what you want to shoot.
Everyone is on the street with a camera here. It’s not just packs of street photographers either. The entertainment industry is here, so besides paparazzi (which is probably what keeps the laws about photographing on the street in L.A. legal,) there are tourists and artists out on the street.
If you’re a photographer that likes getting a large flow of people to choose from, New York or London is probably a better bet than Los Angeles. A decent amount of people filled scenes can be found in Hollywood and downtown, but cars rule here. We love our cars.
In what ways do you think being a woman has affected your work?
Well, I’ve never shot as a man, so I’m not really sure how to honestly answer that.
I like talking to people and I’m probably more approachable and trusted because I’m a woman. I have more access to families and kids probably. Now that I’m older, I’m sure no one sees me as being much of a threat. In the street photography world, I would imagine that counts for something.
I find it interesting that I answered a previous question about I how I started with photography, I mentioned three women right off the bat. I admire women. I admire many men too, but I recognize the difference in attention men get more so than women in the arts especially. That’s the bigger conversation, isn’t it?
Color or black and white, digital or film?
Color color color. You should see my house. Full of color. I love color. Sometimes I wish I wasn’t so drawn to it. It can disrupt an otherwise lovely composition or moment in a photo. But I do love it. That said, I do, once in awhile, examine the world in black and white. It takes a certain trained eye, I think. I love looking at black and white photographs for sure but I enjoy shooting a colorful world.
Digital is 90% of my photographic world. I’m on the computer all the time anyway with work, downloading and editing on the computer is what I do anyway. I love the way a photo looks when it’s printed from film. I really love it. More than a digital print if I have to choose a print. At this point I’m not shooting for the print though. I’m shooting because it’s fun. One day that might change. Who knows?
Equipment and process and technology doesn’t interest me and certainly doesn’t impress me as much as the end results which is image, or the message or that “zing thing” that moves me.
What photographers can you name who are the most inspirational to you?
Well, I’ve already mentioned Levitt, Marks, Arbus and Eggleston. “Most inspirational” is interesting to think about. I remember seeing a story about Uganda in the L.A. Times. It was photographed by Francine Orr. It’s the only time I’ve ever written to someone to tell them how much their photographs touched me. Those photos are embedded in my head. Are they inspiring me? Maybe. Then, so are Graciela Iturbide’s and Vivian Maier’s. But I don’t think I shoot like them.
I’m like a child. My attention span is short and frantic. Recently, I’ve been pouring over Saul Leiter’s amazing, beautiful, early color photographs. Prior to that was Zoe Strauss, and her photograph’s raw honesty.
He’s more of a fine artist, but I’m a big fan of David Hockney, whose colors and compositions inspire me. Also the fact that he experiments all the time with new mediums, techniques, and always maintains his childlike wonder — it’s creatively contagious.
Is there a special project you are working on? Or recurring themes you are often drawn to?
Recurring themes? Since I don’t always shoot “street,” I’d say my recurring theme is photos of rocks. I’m a desert rat. Getting out to the deserted desert is my greatest pleasure. I chill out while gazing at rocks.
On the street level I don’t have a recurring theme that I’m aware of. I center things. I only just noticed that recently.
I shoot medium format portraits nearly every Day of the Dead holiday.
I enjoy being in a collective. Years ago I was in ZuperQuirk. Those were some of my favorite picture taking days.
I’m working on a collaboration with an artist friend of mine whose photographs are not “street” at all. We’re still figuring out the “whats,” “hows,” and “wheres,” but I’m looking forward to being inspired creatively in whatever I shoot next for that.
Susan Catherine Weber | Website | Flickr |