Pierre Belhassen, born in 1978 in France, is a photographer known for merging colorist work with street photography. He has collaborated with brands such as Leica, Hennessy, Christian Dior, Tag Heuer, Veuve Clicquot, Azzaro, and Elie Saab. Pierre has documented events featuring street artists like Shepard Fairey, Os Gemeos, Kaws, and Ryan McGinness for Hennessy. His work has appeared in Le Courrier International, Le Monde, and Frankfurter Allgemeine. His debut book, Marseille Allogene, published in 2023, is sold out, and he’s currently working on a project in Istanbul. Additionally, he conducts photography workshops to share his expertise.

We’re excited to have you with us, Pierre! How have you been feeling lately?

I’m feeling great, thank you! It’s a pleasure to share my thoughts about my work with you, thank you for the invitation.

Can you share how your journey into photography began?

My journey with photography began in 2005 after my first visit to New York. My father had given me his film camera for the occasion, and that’s when I discovered a whole new world of possibilities. At the time, I dreamed of making films, but that experience in New York opened my eyes to what I wanted to do with my life. Photography and I had something to pursue together.

What’s going through your mind when you’re out in the streets with your camera? How do you decide when to press the shutter?

When I’m out on the street with my camera, I try to empty my mind and remind myself that I am not my problems. I dream, I imagine, and as I walk, I start to envision what I’d like to come across. I picture myself taking a photo and I let things happen. Of course, the contexts evolve with time and place and that's what makes this practice exciting and endlessly fascinating. There is so much to see in this world and all we truly know about it, in the end, is that it's constantly changing.

Capturing these moments feel important. I always try to associate a strong emotion with the intention of photographing—being at peace with oneself and genuinely believing in what one is doing. Taking a photo may be simple, but it can also be intense; it’s about living the experience of creation. It’s precisely in those moments that one feels truly alive.

Shooting analog really adds a timeless touch to your work. What draws you to analog, and how does it shape your creative process?

For a long time, I worked with film, and I loved the feeling of rediscovering my images after the shoot, of having a space to ‘dream’ those moments that had already passed. At a certain point, though, the cost of film and all the expenses involved became discouraging. It was getting too expensive, and I worked around this limit when digital came along. It allowed me to continue my practice without having to limit my production. The transition to digital was a delicate process for me, but over time I found my rhythm and my color palette. I still use film today, but only in medium format.

Your work feels intimate and often invites the viewer into a shared moment. How do you create this sense of connection between yourself, your subjects, and those who view your photos?

I admit, I don’t really have an answer to this question. As mentioned in the question, it’s a relationship that forms between the photographer, the subject, and the viewer of the photo. It’s about not overthinking when capturing an image, but rather feeling the emotion of the scene as authentically as possible. It’s surrendering to emotion and forgetting others’ judgment to meet your own gaze—essentially, reclaiming our childlike way of seeing.

Do you have a go-to project or shot that really stands out for you? We’d love to see it and hear the story behind it.

There’s a photo I took in Rome a few years ago when I was only there for a few days. I was fascinated to see so many nuns in the city and dreamed of taking a photo with some of them. At one point, I came across this incredible scene of a nun eating ice cream. It was as if the universe had heard me and was giving me the chance to fulfill my dream. There is sometimes a touch of magic in photography; it’s this kind of event that marks you and keeps you motivated to continue.

In your series 'Istanbul, Towards the City,' you showcase a lot of significant spots around the city, especially featuring women in more conservative styles. What inspired you to focus on this perspective, and what do you think it adds to your view of Istanbul?

For my Istanbul project, it’s true that I tried to confront a fundamental idea I feel throughout this city: the contrast between tradition and modernity. The main reason I wanted to highlight this perspective is probably very personal. I believe I tried to deconstruct the idea I had of conservatism, seeking to better understand those who choose that path. For me, it’s always about curiosity, a desire to understand what is unfamiliar. In the end, I found just as much humanity in these two supposedly opposing worlds, and I’m very proud to have taken the time to study this question and even more so to have discovered the beauty of the answer that came to me.

You've recently returned from another trip to Istanbul. What was it like to revisit the city? Did your perspective or approach to capturing the city change during this trip?

Since 2014, I have returned to Istanbul several times. Each time, I find that unique part of magic that belongs only to this city. Generally, my stays don’t exceed a week, as I want to maintain a fresh perspective. It’s true that I know the city well, especially since I knew it well as a child. In fact, my father also had a story about this place, and he often took me with him. Rediscovering this city, confronting my view of its evolution, is a wonderful opportunity for me to bear witness to the impermanence of the world. It’s also a way for me to connect the personal to the universal.

Ara Güler, probably the most important representative of creative photography in Turkey, once said, “Photography is a historical event. You capture history and stop time with just one click of the shutter.” I’m curious if you're familiar with Ara Güler and what your thoughts are on this whole idea of 'stopping time' with a single shot?

Of course, Ara Güler is a cornerstone in the history of photography in Turkey.

I can only agree with his view: for us humans, history is a concept, something that tells us about our past and where we come from. But when we take photographs, consciously or not, we imprint history onto the present. Thus, every photograph captured in the moment is also a document of that time; it’s only in the future, further along in space and time, that we come to call it history. Few photographers are aware of this strange power given to them.

Ara was right.

Having traveled and photographed in many places, is there a particular city or place you’d love to explore next through your lens?

Yes, I have always felt a strong pull toward the Middle East. There are many countries I haven’t yet seen and would love to discover. Soon, I would certainly like to turn my gaze toward Egypt and its history.

To wrap things up, what’s next for you? Are there any upcoming projects you’re excited to dive into?

Indeed, I am working on my second book, which will convey my vision of Istanbul. Istanbul, Toward the City will attempt to capture what this city represents for me—the sum of human and spiritual energies that I feel through it. It will likely reveal a part of me as well, as I believe that, in art, everything is a self-portrait.