A Walk Through Street Photography with Connor Bryan · Lomography

We had the prospect to speak with Oslo-based photographer Connor Bryan about his evolving apply and the artwork of the DIY photobook. In an period outlined by digital, he reminds us of the facility of the tangible – that having one thing to carry nonetheless issues. In this interview, he shares his method to road images and his reflections on working between analogue and digital mediums.

Hi, Connor! Welcome to Lomography Magazine. Could you inform us a bit of about your self and the way your love for images first started?

Hey, my identify is Connor Bryan, I’m a photographer from England, however now I stay in Oslo, Norway. I used to be concerned with images rising up and studied it for a yr at highschool however it wasn’t till I went backpacking in my early twenties that I began taking images. I began to take it severely after I moved to Norway in 2020, after I began working as a contract photographer, earlier than ending up with a job at a small manufacturing firm. My most important focus nowadays is road images, and to date it’s allowed me to journey to some wonderful locations and meet some fairly cool individuals.

What would you say is your main medium between digital and analogue?

My first few cameras had been movie, largely as a result of I might solely afford outdated movie cameras from the 80s and 90s, so for the primary three to 4 years of my images journey I shot totally on movie. But because the prices of capturing movie have risen over the previous few years I’ve shot extra on digital and save movie for particular initiatives, journeys, or events. Film was my old flame, however it’s not so sensible for me to shoot a lot of it nowadays.

What variations do you discover between movie and digital, and when do you’re feeling every is the extra acceptable alternative?

I shoot movie otherwise from digital. When capturing movie I’m way more considerate in terms of composition and moments, however that doesn’t swimsuit me for each event. I shoot lots of medium format movie, however that’s nearly at all times portraits, or slower, mission based mostly work, the place I can spend time interested by the entire parts earlier than firing away a shot. I exploit digital for all my road work, with the quantity of horrible images I take it could be very costly if I had been to shoot on movie.

Do you assume analogue images nonetheless has a spot in at present’s digital world?

I like all issues analogue, and I positively assume individuals ought to take time to understand and use analogue issues. I respect the tangible nature of analogue issues, issues that make noises whenever you use them, issues which might be made from high quality supplies, and issues which might be made to final. In a digital world, it’s typically good to take a break from a display screen and use one thing that makes you create or eat slowly and with extra intent.

What is it about road images that attracts you in?

My day job as a industrial photographer means every little thing must be deliberate and executed to a quick. After 5 years of capturing this manner it form of made me fall out of affection with images and I misplaced all motivation to shoot images for myself. Street images re-ignited my ardour for images. I react reasonably than plan and by no means know what I’ll come throughout every time I’m going out. There’s one thing thrilling about that and it retains me coming again for increasingly more. Also, the neighborhood facet is a big deal for me. I’ve made some nice associates from everywhere in the world who’re equally as smitten by road images.

When capturing on the road, how do you stability composition with spontaneity? What visible or storytelling ingredient guides your choice to decide on one over the opposite between digital and analogue in several conditions, and the way do they complement one another in your apply?

There’s a couple of containers I attempt to tick after I’m out on the road…an attention-grabbing second, good mild and a properly organised body. I’m normally drawn to the second first and react to that, I additionally strive to make sure that the background is clear and isn’t too distracting. Then I search for composition – I attempt to prepare parts within the body to finest inform the story, or a number of tales in a single go, and ensure the picture is good to have a look at. Good mild is the cherry on high, however I do assume it’s potential to take nice images in dangerous mild.

What challenges do you face when capturing on the road?

When I first began, my largest problem was confidence, however over the past yr I’ve turn into very assured in my apply. I shoot by the viewfinder and by no means attempt to disguise the actual fact I’m taking a photograph of. I’ve additionally realised that physique language goes a good distance, so I attempt to keep open and relaxed. Once I bought over the truth that individuals typically don’t care what I’m doing, it allowed me to really feel extra comfy and assured on the road. Now my largest problem is making certain that I proceed to develop and enhance my work. I’m at all times seeking to study from different photographers and check out new methods to method my images.

For these concerned with road images, what moral issues – particularly round consent – ought to they take into accout?

It’s essential that folks have the prospect to object to me taking images on the road. By that I imply, I shoot near them, and sometimes they know I’ve taken their picture. This offers them the prospect to method me in the event that they really feel obliged to take action. For me, it could really feel flawed to make use of a telephoto lens and stand far-off from a scene the place individuals don’t know that they’re being photographed. I’ve by no means had anybody confront me for taking images on the road, typically individuals don’t thoughts, don’t care, or are oblivious to it, even for those who’re a meter from their face. I believe in case your intentions are good and you may justify why you’re taking a photograph, then you don’t have anything to fret about.

From your physique of labor, is there a selected picture that stands out to you essentially the most? What makes it memorable?

Not essentially a single picture, however all of my images that I took in India earlier this yr. They’re not one of the best images I’ve ever taken however they symbolize lots of growth in my work. The images from that journey had been the primary time I felt assured sharing my road work and the primary time I actually understood which path I wished to take my picture work.

What first impressed you to start out making DIY picture books?

I noticed the work of an Irish photographer known as Paul Treacy, who developed a technique to make this type of ebook and it impressed me tremendously. I’ve been making zines for years, however have at all times outsourced the printing, which is each costly and time consuming. But these small batch DIY picture books had been the proper answer. A fast and efficient strategy to share my images with others in the actual world.

How do you determine the circulate or sequence of your picture books? Do visuals, narrative, or themes information you?

I create a small physique of labor from a selected place after which make a ebook about it. I strive to not overthink it an excessive amount of. I discover images I like, print them and stick them collectively. I can at all times make adjustments in a while if I don’t like the top product. For me the expertise of capturing the images and the method of creating a ebook is extra essential than the ultimate product. Each time I make one, I alter the sequencing barely or change the structure. I believe as a result of I could make them rapidly and simply at dwelling, I’m not too obsessive about having the proper finish product. Progression over perfection proper?

Please stroll us by the method of making your picture books, particularly the one-sheet format.

For a one-sheet mini zine, also referred to as a beak zine, I print 8 images on an A4 sheet of paper. I then lower down the centre of the web page and fold it right into a small booklet. It’s an excellent fast strategy to make a enjoyable little zine that you would be able to share with your folks. It’s actually fast and simple to do and makes a pleasant little booklet that matches in your pocket.

For the picture books I typically print two images on an A4 sheet of matte picture paper, then use masking tape to hitch them collectively to create a lay-flat fashion picture ebook. It’s a very nice strategy to share my images and I believe it has a bit of extra impression on the viewer once they see a photograph in actual life, reasonably than on a display screen.

View certainly one of Connor’s DIY photo books here!

You typically finish your captions with “Print your work people!” As we wrap up, what message would you want to go away with fellow photographers about bringing their work into the bodily world?

Indeed, print your work individuals!

I believe it’s essential to not hold every little thing digital. I like analogue, and I believe there’s lots of people on the market who really feel the identical.

Social media isn’t the actual world, whereas whenever you create one thing along with your palms… that’s actual! Capturing a second that can by no means occur once more and turning it into one thing that can final perpetually. Printing it out brings that second again to life!

Thanks for having me on Lomography Magazine, it’s been a pleasure. And for anybody who continues to be interested in my work you possibly can take a look at my web site or Instagram.

We thank Connor Bryan for sharing his pictures and reflections with us. To discover extra of his work, go to his website or discover him on Instagram at @connnorbryan.

written by maxinecruz on 2025-10-24 #individuals #locations #individuals #tradition #interview #locations #street-photography #diy-photobook

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