In a closed series our RooM Connectors have interviewed the most established and promising photography talent globally.

It's an insta_view of some of the best talent in the World. Enjoy.

Mustafa Seven



Mustafa was raised in Istanbul where he still lives today. Now a professional photographer, he works as a photography editor for Aksam newspaper while also running his own photography studio. Mustafa started using his iPhone to take photos one day when his camera broke and the rest, as they say, is history. He now shares his breathtaking portraits and cityscapes of Istanbul with his 380,000+ followers on Instagram.

“The magic of street photography lies in the sliver of a moment”

Do you ask permission to photograph your subjects because they often look very engaged and relaxed in your street photos?

With street photography I try to catch the moment, since the magic of street photography lies in that sliver of a moment. I usually don’t have time to ask for permission, but I chat for a few moments with them after the shoot. Communication and sincerity are very important elements of street photography; if you can’t correlate with them you are nothing but a weird stranger that distracts them.

How do you decide whether an image should be black and white or color?

I believe color is a deceptive element in photography. It deceives the perception of the individual (viewer) and pulls away from the story. Of course in some cases color is an inevitable element in photography.

“I offer the viewer a vehicle they can write their own stories through”

You’ve said in the past that you like your photos to speak for themselves but don't you feel that text can be important in some circumstances, especially in your daily life as a newspaper Photography Editor?

For me the main point is not to condition or restrict the viewer. What I am offering to the viewer is vehicles that they can write their own stories through. I keep away from elements that can direct perception and mind. I support the liberty of mind. For instance listening to all different stories from viewers who had looked at the same photo in my exhibition. I am on the side of viewers who write stories. Of course this is only valid for street photography (single shot) but if what you do is photo reportage, text is a necessary material.

What excites you most about mobile photography and do you see it continuing to build it's own identity?

It is great that you do not need any other equipment than your phone when you are out on the street. Of course you need to know the capability of these devices and move between the lines. This could look like a limitation to you but at the same time encourages you to look differently and find new solutions. I believe, as a new and popular photographic movement it will strengthen its position.

Do you find it useful having 2 separate accounts on Instagram, if so, why?

I can say it is convenient to categorize photos for me and viewers. For instance I have a separate account, which is especially for viewers interested in portraiture photos. That is why I think it is practical and useful.

When asked "which of my photographs is my favourite?", Immogen Cunningham answered "the one I'm going to take tomorrow". Do you feel the same?

Sure I do. It is all about retaining the spirit. It is a priceless feeling when you catch a great shot. Actually in that very moment you are already aware of this and when it is over unavoidably you keep chasing after this feeling. As one of our talented writers Nazım Hikmet finishes his poem named ‘’24 Eylül 1945’’ with these words. ‘’The most beautiful word I want to say to you is the one that I haven’t told yet.’’

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