“The human figure has always been the central focus of my photography”, Interview with Tuna Angel by Isabelle Coordes.
Thank you ever so much for taking the time to discuss your photography with me. It’s already been an incredibly successful year for you: your work has featured in the Women Street Photographers Exhibition in New York and the Brussels Street Photography Festival, and you have won first place for your street portrait at the Dublin Street Photography Festival, judged by Martin Parr. What an honour. Congratulations!
Thank you very much, dear Isabelle. It really was an honour to get the prize from the legendary Martin Parr. Years ago, when I began exploring the works of iconic colour photographers, I became captivated by Martin Parr’s visual world, especially his work in New Brighton. His frames—whether depicting a mother sunbathing next to industrial palettes, grandparents surrounded by litter at a bus stop, or a red-polished toenail drawing the eye towards various seaside scenes—are all down to earth yet utterly surreal. There’s life, in all its absurdity, irony, and complexity. They remind us that photography is not merely about aesthetics but stories, truth, and the ability to see ourselves in others. He was one of the photographers who inspired me the most, so having my work recognised by his judgment felt both deeply meaningful and truly rewarding.
1. Can you tell us a bit about this photo and how you captured this scene?
I took this photo in London in 2019 during an exhibition I was attending. I was walking with my son and husband when it suddenly began to rain. We took shelter under a bus stop. There, I saw her—an elegant lady, quietly sitting, immersed in thought. The windows were stained with raindrops, and just across the window stood a man with a remarkable Dali moustache. The scene was poetic and strangely cinematic. I had just started experimenting with flash photography at the time. I saw the potential—the contrast of emotion, the layers, the mood—and instinctively aimed my flash toward the pole. And then… click. That frame was born.
2. How did photography become such an essential part of your life? Please share some information about your journey so far and your biographical background.
I began my photography journey eight years ago. It started as a hobby. After three years of exploring black and white, I stepped out of my comfort zone and embraced colour and flash. I try to pursue a distinct voice in candid street photography by using flash to highlight the absurd, the poetic, and the overlooked, where gestures, glances, and coincidences unfold powerful stories. Recognition through awards and international exhibitions has been deeply motivating and humbling, reinforcing how universally we connect through everyday stories.
3. You are well known for your candid street photography and your use of flash. What is your experience with people on the streets when they realise that you have taken their picture? What are their reactions to you? And did you ever encounter a dangerous moment?
Using a flash with snap focus at 1.5 meters is quite a bold approach—it brings you very close to people, and the flash draws attention. With this style, you can’t just blend into the background; you’re noticed. What really matters is how you handle the moment afterwards. If people don’t seem to care and continue, I usually do the same without interacting. But if they react, I smile or give a quick wink. At those moments, your body language is the key. When people sense that you mean no harm, they generally respond positively. Sometimes they ask why I took their photo, and I politely explain that I’m a street photography artist. Most of the time, they’re totally fine with it, especially younger people, who often enjoy the experience. We even exchanged Instagram handles when I asked to share the photo. Occasionally, someone might ask me to delete the picture, and I always respect that and do it immediately. Over the six years I’ve been doing flash photography, I’ve only had two negative experiences—and honestly, I believe both were more about the other person’s unstable psychological state than the act itself.
4. How do you find your motives on the streets? Are you drawn to particular scenery?
The human figure has always been my photography's central axis of meaning, adding strength and emotional depth to my work. I am fascinated with candid moments that reveal the essence of daily life—its emotions, interactions, and quiet dramas unfolding in urban spaces. Whether it’s a fleeting glance, a subtle gesture, or the tension between an individual and the surrounding cityscape, my photographs highlight human presence as the core of the visual narrative. Layered, storytelling photographs are also important to me—those images that demand patience, a sharp eye for the decisive moment, and often, long hours of wandering to discover. I also have a series named “The Surrealism of Life”. In this series, I aim to photographically present, through a veristic approach, the contradictions and paradoxes we encounter in everyday events and scenes—those that sideline metaphors, abstract encodings, symbols, and the search for meaning that we try to resolve within our inner reality. I focus on impossible images that break the chain of logic, approaches that overturn imposed norms and rules, and rebellions that shatter conventions. Without resorting to technical abstractions, I find it both bold and enjoyable to trace an oxymoronic theme by realistically reflecting surreal scenes taken straight from life. Inspired by Foucault, I believe this series also serves as a meaningful intellectual practice in questioning the value of reason and the transformative potential of imagination.
5. You live in Istanbul, famous for its colourful scenery and lively atmosphere. Many street photographers visit your city hoping to catch a good shot. Do you have a favourite route when you are out with your camera? Can you recommend any places for street photography?
I always say that Istanbul is heaven for a photographer. With its mysterious genre, the photographer always finds something touching to her soul in this city. As an answer to this question, I want to share what I had written in the beginning paragraph of my article, the ProgressivE-zine for Turkish Photographers:
“Istanbul! Having the exquisite chance of being a fellow citizen of such a marvellous city, I consider myself blessed as a candid street photographer. Spreading over two continents, and having gone through the reign of three empires, Roman, Byzantine and Ottoman, Istanbul is one of the most outstanding and fascinating cosmopolises of the World. With its unique integration of historical masterpieces, natural beauties, urban dynamics, and mystic ambience, it is undoubtedly a paradise for photographers. Nowadays, with its population reaching 18 million, including the recent refugees, the city has a population that is as if it were a single big country. Moreover, its hinterland is full of commercial and industrial settings, giving an eclectic lattice to the city. Thus, as a melting pot of highly diversified socio-demographic and economic structure, the city’s dynamism offers a highly vivid, colourful but at the same time challenging and enthralling picture for all photographers.”
As a candid street photographer, I’m often drawn to the main arteries of urban life, both on the European and Anatolian sides of the city. Istiklal Caddesi—once known as Pera—still echoes with nostalgia through its historic architecture and timeless layout. On the Asian side, Kadıköy retains its character with its vibrant youth culture and an open-minded spirit that warmly embraces photographers. The skyline of the Historical Peninsula—with the majestic silhouettes of Hagia Sophia, Süleymaniye Mosque, Topkapi Palace, and the Blue Mosque—offers a visual symphony of heritage. The bustling energy of the Grand Bazaar, the Spice Market, and the Galata Tower, along with the ever-changing faces of fishermen along the Galata Bridge, create a vibrant narrative. The old neighbourhoods around the Golden Horn, the timeless charm of Üsküdar, and the beauty of the Bosphorus continue to captivate not only visiting photographers but also locals like me, who find endless inspiration in the drama of rain, sunrise, sunset, or any fleeting shift in the weather.
6. You are a member of Progressive Street and Women Street Photographers. How important is it to you to connect with like-minded photographers? And what advice would you give aspiring photographers who are still beginning their photographic journey?
The platforms you mentioned and some others bring together extraordinarily talented photographers whose prolific work serves as a powerful showcase for artists of all nationalities, races, ethnicities, and gender identities. They strive to reflect the world in all its complexity, engaging with pressing global issues such as immigration, climate change, political unrest, urban transformation, and the impact of globalisation. These values deeply resonate with me. Despite differing approaches, a shared visual language is rooted in empathy and awareness. You learn to listen, discuss, understand perspectives different from your own—and above all, respect them. The diversity in artistic and aesthetic approaches inspire you most.
For those just starting out in street photography, my advice would be:
First, study the broader language of visual art. Photography is deeply rooted in the evolution of art history. Each artistic movement has shaped how we understand form, meaning, and composition. Understanding the structural shifts in art,—how and why they happened—will give you a critical lens through which to view and develop your own work. Iconography is equally essential. Every visual element, even the lack of them; carries cultural and symbolic weight. Learning how these symbols have been used through time allows you to layer your photographs with deeper meaning. And then there is the philosophy behind seeing. Why do we see the way we see? How do we frame reality? These questions may not have clear answers, but wrestling with them expands our photographic vision beyond the purely aesthetic.
In terms of your approach on the streets, my advice would be:
Be bold. This genre flourishes through courage. Don’t hesitate to approach people. Start a conversation. Every interaction teaches you something, and with each one, your confidence will grow. Connect with fellow photographers, share your work, and seek honest feedback. Walk the streets together, attend exhibitions, listen to talks that move you, and study iconic images and legendary photographers’ works to grasp their storytelling power.
But most importantly, develop your own voice. Let your curiosity guide you, and shape a style that’s true to how you see the world.
7. Do you know moments of doubt in your creative process, and how do you cope with them?
Absolutely! The more doubts you face, the more creative you become. You must move out of your comfort zone to create something more meaningful. Because after a while, you tend to repeat yourself and rely on what has worked for you before. It’s when you step outside familiar patterns that your work starts to evolve. What truly matters is your ability to see in new and diverse ways—to challenge your habits, think beyond convention, and reshape form to discover something fresh. This is how your unique voice develops. And when it does, your photographs will begin to speak for you and to others as well.
7. What are your projects and plans for the future? Do you have a dream city to which you would like to travel for street photography?
Looking ahead, I would like to explore long-term projects that work as an analysis for the rhythms of urban life—how time, culture, demographics and chaos shape the city’s character; especially for Istanbul, my hometown. I plan to publish a photo book that not only gathers my favourite images but also tells the emotional and creative journey behind them. I’m also passionate to expand the dialogue with colleage photographers through walks, workshops, and collaborative platforms that invite new voices and fresh perspectives. Most of all, I hope to stay curious. I want my work to remain both a mirror and a window—for myself and others. There are many cities I once wandered through, before candid street photography became part of who I am. I feel drawn to return to them, not just as a traveller this time, but as an observer with a deeper gaze. The one that comes to my mind first is Marrakesh, which has an endless ethnic background and authenticity.
