How important is photography for you? Would you have imagined a few years ago that this passion would have played such an important role in your life today?

Photography was important for me since I was a child, when I left school my desire was to be a cinematographic film director, but in the 90s in Peru the economic crisis changed the course and dream of many young people who, like me, changed their profession to help to their families; I studied economics and dedicated myself to it for many years. More than 10 years ago I resigned my position in a management in a banking institution to resume my photographic career, not in cinema, but as a documentary photographer. The economy and photography got together.

Who are the photographers that inspire you or have inspired you in your photographic work?

It is not only the great classic photographers of world documentary photography that have inspired or motivated me. To be honest, inspiration comes from everything that surrounds me, music, literature, photography in all its genres, design, cinema, poetry, my family, traditions, my culture, my country. , my food, etc., all this plays an important role when reproducing an image in your brain, an image full of emotion, feeling, aesthetic and that you always try to reproduce. It would be ungrateful and unfair to mention only some excellent photographers, more and more great artists appear that inspire you in one way or another.

DOWTOWN LIMA Proyecto de Arturo Cañedo

Are you Interested in deepening your passion with readings and studies on culture and photographic language?

Totally, for 5 years I have been developing a photographic project based on the population of the capital of Peru, it is called DOWNTOWN LIMA. The objective of this project is to portray from my point of view the character of my city using different photographic and lighting techniques. Therefore, documenting me is absolutely essential and important.

Taking a shot in the street can sometimes be difficult, dealing with people’s reaction is not always easy. What is your approach with the camera when you find yourself photographing strangers on the street?

The key word to this question is RESPECT, and this value is something that I not only have to say or manifest, but I have to prove it even in a corporal way. The people around us feel when you respect their space and it is at that precise moment that the doors of their world open for you.

In recent years, Street Photography has boomed, what do you think it’s due to? And what evolution has there been?

Definitely this photographic current has increased and the evolution of the internet through networks is one of the sources of this growth. The speed and immediacy of them, from my point of view, are not the best ingredients for an evolution within the aesthetic and language parameters that we are used to. We are enjoying a new language, a new way of showing photography, but like any process this tends to develop, improve and change.

Which subjects, both as people and places, inspire you more and urge you to look for the shot, or do you think better represent this city?

As part of being a documentary photographer, the elaboration of projects where the structure of themes is essential, in the case of my DOWNTOWN LIMA project, the relationship between the place and the subject is what denotes my work and the connotative theme the use of technical lighting and development respectively

What, then, makes a street photo effective? Can you quickly recognize the details that can make a good photo out of a simple shot?

I am convinced that the internalized knowledge of camera management as well as the exposure and photographic composition are the basis for our shooting decision to be correct within what we consider correct. Finding the different, intriguing, strange, interesting, outstanding, etc., are aspects totally foreign to the knowledge or not of the camera and technical management. Experience directly influences our ability to see and look at these aspects.

Is there something unique about street photography that differentiates it from other genres?

Definitely the ability to find control in the chaos is what, personally, I am more and more passionate about street photography.

In a street picture, do you think the contrasts of light are important to tell a story or are just an aesthetic fact?

In Lima, my hometown, I teach personalized photo seminars, about camera management and photographic composition, and also as an introduction to the photographic language. The latter indicates that when one is taking a photo, all the technical and composition related resources, that can help to denote and connote an image, must be used in order to make as rich as possible. So, I believe that it is not only the contrast of lights (very fashionable today in groups and on social networks) that should be used to produce a beautiful image.

Which are the limits of ethics in a street picture, or is it possible to shoot everything?

The ethics of people is a function of the level of values they have. For me, within my values and ethics, I have a limit, which may be different from others. Respect is my main tool that tells me how far I should go.

Your street photography is extremely focused on the portrait. What do you look for in the face of a potential subject, what are the characteristics that move you to take a photo and, in your opinion, which is the characteristic that a good street portrait must have?

My DOWNTOWN LIMA project is based on people and on the relationships and interactions they have with the surrounding environment and the urban space. It is essential for me to focus on the foreground or on the close-up view, with the use of wide-angle lenses for a correct composition of the subject, the environment and the situation experienced by it with naturalness and spontaneity, trying not to interfere too much by capturing it as quickly as possible.

What reaction do your subjects have once photographed? Do you happen to interact with them?

I always interact with my surroundings, in such a way that I become part of them, otherwise it would be very complicated to obtain images with the type of photographic technique that I use.

What kind of camera do you use and which focal point do you prefer for your work and why?

The camera and the focal point are determined by my project, for the case at this stage of DOWNTOWN LIMA, I use my APS-C camera and a 24mm as well as my flash.

Has street photography, as a genre, developed in you the ability to photograph in any light condition and to interpret everyday life situations with an appealing vision?

In my workshops I always mention that street photography is the best method of study for any type of photography. By the way, I take my photography workshops in the street.



“TAL” and “Street Photography in the World”     


Alessandro Schiariti

Roberta Pastore

Gabi Ben Avraham

Amos Farnitano

Mario Mancuso

Giulietta Vulcano

Andrea Boccone

Umberto Fara

Andrea Torrei

Ohad Aviv

Luca Paccusse

Arturo Cañedo

Orna Naor

Massimiliano Faralli

Andrea Ratto

Cristian Cuomo

Liliana Ranalletta

Karolina Trapp

Perry Hall

Alessandro Luigi Rocchi

Paolo Ferreri

Antonio Femia

Marco D’Aversa

Paolo Migliorisi

Thomas Kirsch

Christophe Mousset

Roza Vulf

Julie Hrudová

Antonio E. Ojeda

Rafael Acata

Omri Shomer

Alessandro Prato Atko

Jeffrey De Keyser

Simone Morelli

Luigi Stranieri

Gianluca Ceccarini Arash

Roberto Raiz

Massimiliano Vecchi

Egon H.

Francesca Chiacchio

Street Photography in the World The Book – Volume 1

Street Photography in the World The Book  Volume 1

for sale :

This book is the result of work that the Facebook group “Street Photography in the World” has been doing for years; with it we have tried to collect the best photos posted in the group during the course of its existence. The choice was not easy: in fact, the group has 160,000 active members who send hundreds of photos every day, and it was one of the first to pay tribute to “Street Photography”, at least on Facebook Thanks to the perseverance of its founder Roberta Pastore, the quantity, but especially the quality of the published photos, has grown with the passage of time. The group has an international character, with authors who come from all parts of the world, a proof that this photographic genre has developed in all cultures. The idea is that this publishing initiative is not to be a sporadic one, but should become a regular event, so as to promote those artists who are outside the commercial logic and help them to publish their work. Each author published here has lent his work for free, and remains the sole owner of the published image rights. Thanks are due to those who daily work with passion in the group, and especially to those who will follow closely this editorial initiative, hoping that this work is appreciated

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