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the strange and unfamiliar - part 5

What is Strangeness? A sense of otherness. The opposite of common, ordinary, familiar. Strangeness comes out of capturing human beings and the world in a different, unfamiliar light. In this article, I wanted to explore different ways I have evoked a sense of strangeness and otherness in my photography - and through this, introduce possible avenues for you to explore. I hope you will enjoy this reading, and if so, let me know in the comments!

While there are many ways to think of the strange and unfamiliar, in my next series of articles I will discuss five themes that are close to my heart:

  1. Transforming the relationship between man and the city

  2. Introducing shadows as a destabilizing element

  3. Connecting elements to create tension and parallels

  4. Windows to create distance and a sense of otherness

  5. Using reflections to fully transform the reality


5. Using reflections to fully transform the reality

Reflections are extremely powerful at creating completely re-invented worlds, hiding the most important details, confusing the mind about what is and isn’t, and showing a troubled mirror of our world that can be utterly surrealistic and captivating. Reflective surfaces transform what we see, the essence of reality, the substance of human beings. And this stirs the imagination. Strange, weird, unfamiliar - whether poetic or chaotic, reflections are there to disrupt the harmony through creating powerful illusions. People disappear, replaced by light and shapes. Independent elements get juxtaposed to create a new dimension, a new illusion, as if creating a composite image of two or three existing images. But in street photography, nothing is fabricated and catching these disruptive reflections is an art in and of itself. And more often than not, what the camera will capture is unlike what the eye can see, creating surprising results and allowing the strange and unfamiliar to penetrate our minds, for our greatest delight.

1. In this image, it is noticeable that subjects have no faces, no consistency. The first illusion is provided by a reflection via a glass, whereby the subject on the right is seen as almost translucent, with the sun reshaping her features and creating a strange sensation of looking through her, not at her. She blends with the falling sun. She’s turned to the right, while our second subject who appears so small in comparison, is barely visible in the darkness, shot from behind and looking away, where we cannot see. At no point their gaze will ever meet, each of them transformed and solitary in this image, which becomes more of a painting than an actual photograph. The details in the background of a boat on the bus stop, and the buildings blending into shadows and sun create a very surrealist impression, an image that doesn’t seek to document, but to evoke, from a feeling of incredible beauty to the strangeness of a scene where humans have no real substance, no real consistency. Only transient images of themselves, transposed in a world full of light.

2. Reflections combined with silhouettes can create very surrealist effects, like in this image. A man with a shadow for a body, and a face disappearing into reflections of buildings and windows create a strong feeling of strangeness and weirdness. Our subject has the shape of a human, but none of the features. The juxtapositions here are surrealists and almost seem fabricated - who is the man with no face, walking alongside that little girl? Juxtaposed to this surrealist image are the hand of a photographer on the left, creating some additional sense of strangeness.

3. Sometimes the face is erased, and sometimes the body is. In this image, the reflection creates the illusion that a man is wearing a long coat - yet the garment seems strange and unfitted, as we had super imposed two images into one. The power of reflections can be very strong: the garment belonging to the inside of a shop, yet juxtaposed onto the hands and face of a walking man creates something new, something unseen before. Again here, the transformation is total and the juxtaposition of elements that do not belong together creates a sense of wonder, of perplexity. We don’t know what we are seeing really, and what belongs where. The result is a very strange man, almost an image of himself, transformed into someone else, elements blending into each other to create a never-ending confusion in our minds.

4. Another avenue to explore are those reflective surfaces blessed by strong light. It shows the world not as is, but a mirror of itself with different textures, layers, fading details…An example here is a shot of a woman on the window of a closed shop. The strength of the sun creates an almost perfect reflection of our subject and the street behind her, but juxtaposed with an iron curtain. The resulting effect is a strange mirror of our world, broken down into fragments and lines - an interesting transformation of an ordinary scene, where humans and metal merge together to create a puzzle image, surrealist and strange, that captivates our attention.

5. The strong light and contrasts in this image helps create a sense of strangeness and tension in this image. While the buildings are reflected in the background, our subject’s features are clearly delineated against these because of the strong light. On the other hand, part of her face and her body will remain hidden in the shadow - so we are permitted to see only part of her world, with hint of a second person in the background blending in the darkness. But what creates a strong illusion here is the reflection of the sun on the floor, reflected like a lightning across her body, driving the eyes directly to her.

6. And most often, reflections can blend the entire scene to create a juxtaposition of elements, forms and shapes that can be poetic, strange, out of this world. In this example above, the big round lights in the shop are juxtaposed to the geometric shapes of the buildings reflected, almost over shadowing the humans in this image. The result is chaotic, impression over impression, confusion and collision of elements, a world where the real and the reflected cannot be pulled apart anymore.

The Strange and Unfamiliar - Part 4

What is Strangeness? A sense of otherness. The opposite of common, ordinary, familiar. Strangeness comes out of capturing human beings and the world in a different, unfamiliar light. In this article, I wanted to explore different ways I have evoked a sense of strangeness and otherness in my photography - and through this, introduce possible avenues for you to explore. I hope you will enjoy this reading, and if so, let me know in the comments!

While there are many ways to think of the strange and unfamiliar, in my next series of articles I will discuss five themes that are close to my heart:

  1. Transforming the relationship between man and the city

  2. Introducing shadows as a destabilizing element

  3. Connecting elements to create tension and parallels

  4. Windows to create distance and a sense of otherness

  5. Using reflections to fully transform the reality


4. Windows to create distance and a sense of otherness

Though windows, we are forever outsiders, observing a private world that we are not part of, and that we can never truly comprehend. This sense of otherness, of distance between ourselves and the subject, and of unknowability, is a common consequence of shooting people across windows of any kind. They may see us or look away, they may be absorbed in a conversation or be asleep in front of us, the mystery accompanying these images is forever endless. So much is hidden from us, shielded from our eyes, that we cannot completely grasp this other reality. In essence, through observing life through windows, we are establishing a barrier that we will never truly overcome, and we create images that evoke another world filled with people who remain out of reach, unknowable to us, and perhaps even to themselves.

4.1 This image of an older man looking through the window of a moving bus conveys a sense of otherness, of longings that can never be shared. He’s looking in the direction of the camera, but not quite at the camera - he’s looking in the void, captured in his own thoughts, and his sad, pensive gaze creates a sense of isolation. Isolation in the space of an empty bus, but also in our cognitive space. We are looking at a man that we cannot reach, the window acting as a definitive layer of separation between him and the viewer. There’s an atmosphere of sadness from the rain and night all around us, and we are left wondering where this man is going, and what goes on his mind. The window here gives a brief moment of connection with someone we will never truly know, and at the same time, creates distance and differentiation between him and us. While there is familiarity in this scene, this man looking at us without seeing us emphasizes how little we know about people.

4.2 This image of a little girl could be interesting on its own, for the light and contrast in the image, and the perpendicular lines created by the frame of the door. But there is more to it, when we start to see the man behind, or part of a man behind, overlooking that little girl. Because we can’t see him fully, his features add a layer of mystery and unknown. His relationship with the girl, for example, is not clear. Is he protecting her, or is he an unfamiliar, potentially menacing presence in the background? The window here acts as a divisor between us and them, and we are left with a slight discomfort not knowing who this man is, and what he represents - either protection or menace, familiarity or unfamiliarity. What happens behind the door will remain out of sight forever.

4.3 Indeed, windows separate and hide who’s really behind, creating a sense of otherness and distantiation. In this image, there is much left to the imagination, to the world of strange and unfamiliar. All we can see through the window is a hand, lost among the many reflections of the city. This hand has a wedding ring, clearly. But what this hand is doing here, and who it belongs to will never be shared nor seen. The window offers a stance into the private life of people, and yet hides most of this life from us - literally and figuratively. And due to the reflections, we are not able to place this hand in the context of human habitation - the reflected windows all around us dominate and shield our subject entirely, leaving the mystery of this ‘other’ man, completely intact.

4.4 Windows as an element creating distance and otherness can also work with other materials, or ‘barriers’ between us and the subject(s). Here, a transparent umbrella creates an opportunity to observe without being seen, but at the same time, gives us an incomplete and distorted vision of the world beyond. Our subject, this blond woman, appears out of reach, blurred into the layers of the umbrella, while other people in the forefront and background of the image only have bodies that we can glimpse at, no faces or heads. This creates the effect of observing an incomplete and unfamiliar world, a world mirroring ours and yet, out of reach, and mostly out of sight. Being so close, we are forever separated from them, forever left to ponder about a reality that seems familiar and strange all at the same time.

4.5 The consequence of looking through a closed window is to observe from the outside. Being the outsider, we can never really fathom the world that is beyond us, and much is left to the imagination. A sense of strangeness, while utterly possible outdoor in the street, is somehow amplified through a window or a glass. It gives the false impression of proximity, while shielding us from what’s really happening inside - creating a distance that we can never truly overcome. In this image, we observe someone sleeping or dreaming, in the middle of a busy coffee shop. There is strong contrast between the private act of sleeping, even temporarily, and the public act of consuming a coffee with others in a shop, which creates a sense of strangeness in this image. Perhaps our subject is just resting, alert to what’s happening around her (but not aware of us), or perhaps she’s actually sleeping, lost in her dreams. This ambiguity is made possible because of our position as an outsider beyond the glass shielding her, making her forever mysterious and inaccesible to us.

4.6 When there is a direct connection with the viewer through eye contact, like in this photograph above, the window as a divisor can create an unsettling feeling, of seeing and being seen, while never really comprehending what’s happening behind the glass. This image is mysterious at the very least, the woman lost in the reflections of the city, alarmingly beautiful and somewhat floating in the space. But her gaze is strong, almost disdainful. The juxtaposition of all of these layers combined with her response to the photograph is somewhat unsettling - from invisible, we’ve become utterly visible, and yet, much of her mystery is preserved with this glass separating her from us. Where is she? What is she doing? What’s going on behind her? None of this is accessible to us. She belongs to another world that we cannot reach.


Thank you for reading, and I wish you a lovely day and happy pursuit in your street photography journey. Stay tuned for our last chapter - Part 5: The transformative power of reflections to distort reality.

The Strange and Unfamiliar - Part 3

What is Strangeness? A sense of otherness. The opposite of common, ordinary, familiar. Strangeness comes out of capturing human beings and the world in a different, unfamiliar light. In this article, I wanted to explore different ways I have evoked a sense of strangeness and otherness in my photography - and through this, introduce possible avenues for you to explore. I hope you will enjoy this reading, and if so, let me know in the comments!

While there are many ways to think of the strange and unfamiliar, in my next series of articles I will discuss five themes that are close to my heart:

  1. Transforming the relationship between man and the city

  2. Introducing shadows as a destabilizing element

  3. Connecting elements to create tension and parallels

  4. Windows to create distance and a sense of otherness

  5. Using reflections to fully transform the reality


Part 3 - Connecting elements to create tension and parallels

Sometimes, this is simply the interactions between elements in a photograph that create strange, uncanny scenes, creating illusions and playfully deceiving the viewer. Objects can take a disproportionate importance, creating abstract, uncanny or absurd worlds. Subjects themselves can be connected in weird and unrealistic ways to create new meaning and feelings. There are many possible avenues to create strangeness through juxtaposing elements in a photograph, in a way that creates tension and / or ambiguity, and often through invisible lines creating connections and meaning in the photograph, between objects and subjects. Below are a few examples from my own portfolio to illustrate this theme.

1. In this image, the collision of red and blue objects surrounding the subject creates interest in a suddenly unfamiliar scene. We’ve all seen road blocks and balloons, but here is this is the composition itself that connects all those elements together and somehow achieves to elevate a mundane story to something strange, uncommon. The blue ballon in the top right corner is so predominant in the frame that our mind starts to connect elements where there should be no connection in reality. The subject emerges in a world of rounded blue and red shapes, surrounded on all sides, as if she’d be added as an after-thought to an abstract image. Her humanity here is lost in chaotic geometry.

2. In this image above, the strangeness comes from an illusion of size and proximity. The giant legs appear closer to the boy than they really are, and are moving in the opposite direction - creating a strange impression that the boy is soon going to be trapped by these giant legs. The image frames our subject very clearly, taking a bended shape as he climbs the stairs. On the other hand, we can see only the giant feet of strangers coming in his direction, seemingly close to impact with our subject. Connecting elements like this and playing with proportions can give strange, funny and uncanny scenes through our photography.

3.3. A somewhat uncanny, bizarre scene can emerge from the juxtaposition of multiple subjects who are apparently unconnected, while the dynamic of the group creates a strange impression on the viewer. In this image above, we have four subjects, all looking in different directions - creating invisible lines with their eyes and their postures. They appear to be on a shopping street, where people are normally walking. Yet they are all in a stand-still in this photograph, their eyes never crossing each other, seemingly unaware of the others but for the last man in the background observing the entire scene. The light also plays an important role in creating areas of shadows and emphasizing the strange dynamic of all these different bodies turned at different angles, looking beyond their shoulders, up their nose, away where we cannot see. The resulting effect is that of a strange dance of strangers, and our eyes do not know what to believe.

3.4 And sometimes, the uncanny can emerge from a direct connection with the photographer, and by extension, the viewer. In this scene, what creates interest is not simply the second subject looking directly in the eyes of the camera, becoming aware of the intrusion. It is the surrounding subjects in the crowd, all unaware of the camera, all looking away in the same direction, as opposed to this woman seeing through us, escaping from the crowd itself to become an active mirror of who we are. It’s also noticeable that she’s hiding behind the woman in the front, only partially visible to us, while her friend in the front remains perfectly unaware of our presence on the scene - which creates tension in the image. We are left to wonder who she is, what her connection with the woman in the front is, and what she thinks of us. This double reflection creates a sense of otherness, of separation, between them and us.

The dog leash

3.5 In this image on the left, the sense of strangeness comes from an illusion: the small woman in the background appears as if whe was holding the dog leash herself, or at least part of it - which is not physically possible. In doing so, this image creates a sense of tension, connecting directly two elements that are, in fact, on different planes in the image. This additional connection is what creates a strange, uncanny image.

3.6 And finally, to close this series of examples, here’s an old image I took in Chicago, from a lower perspective. Here the strangeness and absurdity comes from juxtaposing the fence with human bodies, so that each body is visible through the fence, yet their heads are hidden - depriving them of an important element of their humanity and identity. The perspective and angle in this photograph are everything. Too high or too low, and you wouldn’t get the same results, while the near perfect alignment of bodies over the holes of the fence shaped like bodies themselves creates this uncanny, unfamiliar and strange effect.


That’s all for today. Stay tuned for Part 4 and 5 of this blog series, coming soon! I wish you well in your photographic journey. To the next episode :)

The strange and unfamiliar - Part 2

What is Strangeness? A sense of otherness. The opposite of common, ordinary, familiar. Strangeness comes out of capturing human beings and the world in a different, unfamiliar light. In this article, I wanted to explore different ways I have evoked a sense of strangeness and otherness in my photography - and through this, introduce possible avenues for you to explore. I hope you will enjoy this reading, and if so, let me know in the comments!

While there are many ways to think of the strange and unfamiliar, in my next series of articles I will discuss five themes that are close to my heart:

  1. Transforming the relationship between man and the city

  2. Introducing shadows as a destabilizing element

  3. Connecting elements to create tension and parallels

  4. Windows to create distance and a sense of otherness

  5. Using reflections to fully transform the reality


2. Introducing shadows as a destabilising element

Shadows can be powerful forces in your photography. When shadows replace human beings or share the frame with them, you can disrupt harmony and create a sense of strangeness in your narrative. Similarly, long shadows can introduce foreign elements in your photography that provoke thoughts and wonders, transform subjects and create tension. Shadows can also hide key elements of humanity - such as the face, creating a mix of seen and unseen, of real and unreal. When shadows are reflected, they can create an entirely new reality of a world mirroring our own only so slightly, yet ever changing and mystifying. All of this can produce strange and unfamiliar scenes that will make you stop and wonder, one image at a time, pondering about the reality of the scene, the nature of these illusions, and their meaning.

1. When people become silhouettes, we start introducing an element of unreal in the image. But when silhouettes and non-silhouette humans co-habit on the same plane, it creates a strong sense of illusion and strangeness, like in this image. These two subjects are close but can’t be further apart at the same time - one in plain sight and clearly visible, looking in the direction of the other, now a mere silhouette passing by in front of him. They seem to belong to two different worlds, with two different suns. While they connect through the gaze of our first subject, we can only wonder what strange effect the camera has captured. The resulting feeling is that of strangeness, of course, but also of isolation and impossibility of connection.

2. And sometimes, humans are replaced by their shadows who take a life of their own, suddenly surrounded by animals and actual, visible human beings. In this image, you can see the strangeness emanating from the shadow-person co-habiting with a much smaller subject in the background, full of light and clearly discernable in the shadow. This is an image that seems almost two-dimensional, therefore not applying the law of physics in its proportions. The co-habitation of a shadow-person with a bird is an additional element of curiosity, adding to the strangeness of the scene in sight.

3. In this image, you have two elements leading to unfamiliarity and mystery: the subject is fully visible yet her face is painted black by the sun, so you cannot actually see her features. The combination of seen / unseen elements in her physical appearance is strange and compelling, bringing us to look at the smallest detail. The background is cheerful, but somewhat astonishing for a city background, while her hair shadow is actually creating a strange element on her left - a distorted dance of elements seeming to run in her direction, disconnected from their source, utterly strange and deceiving.

4. The most famous man in Soho perhaps! Yet the reason to integrate this picture is to demonstrate how hiding the facial features of someone can be disturbing and unfamiliar. In this image, we can visibly discern elements of his costume, hat, and even his glasses where the sun gets reflected, Yet his face in the shadow can be accentuated as to fully disappear - leaving our subject with no face, just a long shadow connecting with the negative space on the left, It makes you question your perception, and the physical reality of this photograph.

5. And finally, an example of reflections in the water. In these photographs, subjects become reflected silhouettes, losing many details and anonymising who they are. In addition, the image is upside down - which the eye can understand because of the reversed pavement on each side. What comes out of this image is a sense of a world that looks almost like ours, but not entirely. It takes a few seconds to understand what we are seeing, and to ‘see’ the dripples of water creating texture throughout this image.


Thanks again for reading! Soon I will be publishing Part 3: Connecting elements to create tension and parallels. So stay tuned.

Have a lovely day!

the strange and unfamiliar - Part 1

What is Strangeness? A sense of otherness. The opposite of common, ordinary, familiar. Strangeness comes out of capturing human beings and the world in a different, unfamiliar light. In this article, I wanted to explore different ways I have evoked a sense of strangeness and otherness in my photography - and through this, introduce possible avenues for you to explore. I hope you will enjoy this reading, and if so, let me know in the comments!

While there are many ways to think of the strange and unfamiliar, in my next series of articles I will discuss five themes that are close to my heart:

  1. Transforming the relationship between man and the city

  2. Introducing shadows as a destabilizing element

  3. Connecting elements to create tension and parallels

  4. Windows to create distance and a sense of otherness

  5. Using reflections to fully transform the reality


  1. Transforming the relationship between man and the city

The human-city relationship is an important theme in my photography and can generate a variety of emotions and feelings, depending on the situation. In some instances, transforming this relationship can lead to not regonising the world around us - and creates a sense of unfamiliarity, of otherness and inherent tension. There is the tale of the overshadowing city, making us feel small and almost negligeable in the middle of it. Combined with lower or higher angles, the story and main feelings conveyed can change, from isolation in the middle of the city, to abstraction of the sense of humanity in it. Transforming the background can create completely new and strange stories, with people erupting simingly from nowhere, or from a world different than ours. And at times, city and human elements blend so much with one another that we cannot recognise where one starts, and the other ends - all of these creating situations that are strange and unfamiliar, from slightly disturbing to fully surrealist. A world that we can barely recognise - echoing the familiar while shifting in shape and in meaning.

1.1. In this first photograph, the subject is highly minimised compared to the city heights. The large negative space created by the shadows around her is equally disturbing - it seems to reshape the space around her and create an unfamiliar, overpowering urban setting. There is a sense of strangeness and unfamiliarity in these transformed surroundings, as if we cannot recognise the city itself. As if the city was slowly closing down on our subject, threatening to remove any remaining light.

1.2 In this second photograph, the subject is shot from behind, creating a sense of distance, while his dog is facing in the other direction - as if looking wearily at its surroundings. In addition, the low angle shows them as very small compared to the mega towers in the background, creating a stronger sense of isolation within the city. The scene and angle shows an unfamiliar face of the city, while the subject remains a mystery to us, reinforcing a sense of otherness, of distance and unfamiliarity - perhaps even of threat.

1.3. I talked about this photograph before, but it felt very suiting in the context of creating strangeness. Here, at first sight, we may simply be observing the outside of a staircase, with someone exiting at the bottom. A deeper look though allows us to discover another head above, yet we are never quite sure what is human, and what is part of the staircase. There is a sense of strangeness emanating from blurring the lines between human and non-human, disturbing the normal relationship between humans and the city - which should clearly outline where one begins, and one ends.

1.4 The man in this photograph is shot from the waist, within a very strong light. Adding black and white constrasts, and we simply cannot recognise the background. Not only is he interesting and standing out as a subject, but he seems to emerge from the clouds at first sight. And indeed, light and angle can be highly transformative of the city background, up to creating a completely illusionary tale, a strange portrait of a strange man, emerging from a place we simply cannot recognise.

1.5 For this last image we shift to a different angle, this time looking from above the subject, and through what appears to be a fence. The man, there again, is highly minimised vs. the bigger city, which is an unfamiliar sight. Additionally, the lines created by the fence only reveals a partial look at the city, framing the man in a very narrow window. These lines prevent us from seeing the bigger picture, emprisoning the subject and the city in narrow frames that are coming and going from nowhere. This framing is what creates a sense of strangeness in this image that nearly appears flat, two-dimensional, distorting reality.

1.6 And finally, in this image, the role of light is powerful and transformative. We can see a woman looking sideways, her face half hidden in the shadow, with a background suddenly feeling disconnected from her. Because of the light and the strong shadows, the common London bus in the background seems to emerge from the dark, unreal and unpalpable, while our subject stands in the foreground with no apparent connection with the city behind her. This disconnect creates a very strange and unfamiliar scene, as if we were looking at two different images merging together in a surreal painting.


Thanks for reading, and look out for Part 2 of this series: “Introducing shadows as a destabilizing element”, coming up soon.

Have a lovely day!