Krzysztof Bednarski: Thanks, Anil. I really appreciate the recognition in the Projects & Portfolios category at the 2024 Urban Photo Awards. Each acknowledgment like this means a lot; it’s a motivator to keep pushing forward creatively, especially with work that comes from a personal place. La Vida Lenta came about quite naturally. I’ve dealt with anxiety and OCD for much of my life, and after years of working in high-pressure environments like television networks and advertising, I find myself drawn more and more to the opposite: stillness, solitude, simplicity.

Traveling alone, observing quiet moments, has always given me a kind of relief. I’ve been trying to live at a slower pace – less work, more space to breathe. The idea of Slow Living resonates with me, and this project grew out of that shift. You could say it became a visual way of exploring that yearning for simplicity.

Krzysztof: That’s very nicely put. And I completely understand that instinct to preserve the quiet. I actually struggle with the opposite at times – I’m quite a shy photographer. I often hesitate, afraid that stepping in might disrupt the rhythm of a moment. There have been so many scenes I’ve let pass, simply because of the fear of being seen and interfering with the natural flow of the moment. I often say that the best photographs are the ones I did not take. But I’ve learned to accept that as part of my process and try to move forward quickly from missed opportunities. In small towns of Mexico, I immediately felt a sense of alignment – not just aesthetically, but in terms of tempo. In the places I visited life moves at a pace that suits the way I like to observe. It’s not rushed. There’s space between things – between gestures, between people. That rhythm allowed me to slow down, to blend in quietly and watch without pressure. It created a kind of mutual calm: I wasn’t chasing moments but rather waiting for them to arrive.

Krzysztof: Although I sometimes photograph empty spaces, it’s actually quite rare. People have always been central to my work – even if they only take up a tiny part of the frame. In my mind, they are the subject. I really like your metaphor of two sides of the same coin. Context is everything. The person and the space in dialogue with each other. One gives meaning to the other. The same figure placed in a different environment would shift the entire emotional tone of the image. The architecture, the light, the surrounding emptiness – they all shape how we perceive that individual and vice versa.

Krzysztof: I often say I feel most comfortable somewhere between documenting and storytelling. The scenes I photograph are candid, but the version I present might not reflect the literal truth of a place – it’s more like my imagined version of it. It’s less about capturing hard reality and more about capturing the atmosphere of an imagined movie that’s quietly playing in my head in that particular setting.I’m drawn to urban environments that fit a certain aesthetic  – simple forms, clean lines – but it’s the harmony (or tension) between people and those settings that really completes the image for me. Often, I’ll find an interesting location first and stay there, waiting for the right subject to enter the frame. Many people might pass through, but I’ll keep waiting until someone fits the vibe or narrative I have visualized internally.

So yes, I’m guided by an aesthetic vision – it’s quite intuitive. It’s about finding moments where the real and the imagined overlap just enough.

Krzysztof: For me, photography is a way of reconnecting with myself. It helps me slow down and be present, especially in contrast to the fast-paced anxiety I’ve often lived with. For me, my photographs are a reminder of the experience I had while taking them.

Krzysztof: Exactly the latter. For me it’s less about documenting what was in front of me, and more about capturing how I felt while observing. It’s my way of preserving an emotional response – a visual souvenir of a fleeting mood. Of course, beyond that, there’s also an imagined story I’m trying to share. I like to look at photography as capturing a single frame from a story that exists only in my head. So in that sense, it’s also about sharing a piece of that internal narrative. Something between reality and fiction, between observation and imagination.

Krzysztof: Like most photographers, my style has evolved over time. A decade ago, I was photographing urban settings in a more reactive, documentary way – faster paced, more chaotic, more energetic. These days, I find more satisfaction in the process of creating something quieter, more planned out, more intentional. I don’t think one approach is better than the other – just different energies. The minimalist aesthetic, the clean lines and simplified forms, speak more closely to my visual nature now.

Krzysztof: Absolutely – small towns like Valladolid were almost tailor-made for the kind of visual language I’m drawn to. The spacious streets, low-rise buildings, and lack of crowds made it easier to achieve the sense of stillness and balance I often look for. I do relate to the idea of alienation or solitude as a narrative device. It’s something I aim for even in busier cities like New York, Tokyo, or Paris – though in those environments, it takes more patience and is sometimes more challenging. I still try to isolate subjects, to find that moment of clarity within the chaos. Looking forward, I’m definitely interested in expanding beyond just places or urban landscapes. I’d like to explore more specific subjects and themes – still through a minimalist lens, with my own aesthetic, but maybe with a deeper conceptual layer. I think minimalism can be a powerful way to confront the complexities of modern life, precisely because it removes the noise and makes you sit with the essential.

Krzysztof: I don’t believe there’s one single photographic style that defines or captures the spirit of our time. If anything, today’s world feels too diverse and fast-moving for that. I think many photographers, each in their own style, reflect different aspects of current moments. With the pace at which people are creating now, and the constant search for new forms of expression, we’re seeing more stylistic variety than ever. That said, my own use of minimalism does feel like a personal response to the overstimulation of modern life. For me, photography is a way to slow down, process what’s around me, and sometimes escape from the noise. But I don’t see this as part of a movement or grand commentary. It’s simply my way of navigating the world and offering something that feels honest to my own experience.

Krzysztof: I really appreciate Adam Pretty’s words about the project – it’s always rewarding when someone notices how much thought goes into the balance of elements in an image. As we’ve touched on earlier, I try to operate somewhere between imagination and observation. I usually have a rough idea of the type of scene I’m looking for, but I also respond to what the environment offers me. It starts with a location that speaks to me visually – strong geometry, color harmony, architectural rhythm. Light is a big part of that. Since I know how I’ll treat the image in post, I pay close attention to the strength and direction of light on location. I often think of being outdoors as working in a giant studio – with the sun being my main directional light.

Once I find a setting that feels right, I’ll usually wait. Sometimes 15 minutes, sometimes 2 hours. I’ll let people pass through the frame until someone appears who fits the imagined narrative I’ve built in my head. It’s mostly intuitive but there’s also sometimes a lot of patience required. It’s about letting the real world align, just for a moment, with the version I see in my head.

Krzysztof: That’s a powerful quote, and I do think it can apply to photography – at least in certain contexts. There are definitely photographs in history that have had a transformative impact. I’m thinking about iconic images like Migrant Mother by Dorothea Lange (1936), Raising the Flag at Iwo Jima by Joe Rosenthal (1945), or even the Pale Blue Dot image of Earth taken by Voyager I in 1990 – those photographs go beyond aesthetics. They challenge, they shift our perspective.But my work operates on a much smaller scale. I don’t aspire to have any transformational impact. My images are more like quiet invitations. If someone viewing my image pauses for a few seconds longer than expected, I consider that a privilege.

Krzysztof: A loaded question. The simple answer would be: everywhere. But if I had to pick one influence, I’d probably say film. Ironically, my visual aesthetic isn’t particularly cinematic in the traditional sense – it leans more painterly and graphic. But I’m drawn to the idea of the photograph as a single frame from a larger story, like a still pulled from a film. That approach resonates with me.

Krzysztof: I’d say: just start. Try different things – different genres, techniques, approaches – and you’ll eventually find what resonates with you the most. Years ago, I went through a phase where I was doing studio shoots for fashion and advertising. It was a valuable experience, but it didn’t bring me the same kind of fulfillment I get from the photography I do now. It sounds like a cliché, but: do what you enjoy. Explore freely, don’t get too hung up one style or one genre. As you try things out, your own personal style will develop naturally over time.

Krzysztof: A few years ago, I probably would’ve answered this with more ambition – more projects, more output, more everything. I used to put a lot of pressure on myself to keep pushing, creating, growing. But right now, I feel more content. What I value most is balance – creatively and personally. I’m not chasing the next big opportunity. I want to keep creating at my own pace, for myself first. And if that work resonates with others, that’s a nice bonus. As for what I hope visitors take away from the La Vida Lenta series – maybe just a moment of stillness. A pause. A small sense of quiet.