Can Dagarslani is a photographer from Istanbul, Turkey.
It happens to see his updates from England or Italy as well. It seems that he loves to travel, discovering new beauties in incredibly expressive models through Europe.
So we present his new series for 25th Hour Lingerie and we try to tell you something about his way of taking pictures with this interview!
Hello Can Dagarslani! Such a unique name that you have. I’ve always been fascinated by your origins. Tell us something about your country and the way you relate yourself to the photography in your hometown.
Thank you for bringing a smile to my face before we begin the interview. Maybe the only thing I am at peace with myself is my name, it means Spirit / Mountain-lion.
I live in the most chaotic city of a strange country, a city that feeds me and determines the rhythm of my life. Living in Istanbul, unlike many people, gives me assurance, some kind of serenity.
You’ve been to Italy several time, right? How do you find it working in the cradle of Renaissance?
Italy has offered me little surprises in many of its cities and awaken many exciting feelings in me. Being there always amazes and surprises me.
While details fade out in the city that I live in, in a foreign place my perception is wide open. That’s the reason why I prefer shooting in mystical cities that I am not familiar with.
Which other countries you went through in your life? Where did you find yourself being more creative?
The cinematographic silhouette of the cities I live in and travel to is the first reason I have ever grabbed a camera. Therefore I can easily say that the architectural structure effects me a lot during production. Europe, without any country limitations, is where I feel the most comfortable in this respect.
Let’s get deeper. Your photography seems to be a bit conceptual, really emotive! What are you trying to achieve with your art?
I do not insulate photographs with life, I can even say that photography helps me carry on with my daily life. Besides, my interest in photography started with my inner world’s influence, not out of curiosity. Therefore I feature spiritual elements more.
I am in love with most of your models and I think all of them have a similar attitude. So how do you interact with them?
I am usually interested in the mystery of face and body. My target is to reflect them as natural as possible, without any distortions. My only expectation from models is for them to look like themselves. In a world that is built on acting, this anticipation forces them more.
Except for few pictures, your images are full of details and strange props your models have to handle somehow. What is this all about?
My work deals with femininity which appears heavily in my work, however it never feels sexualized. Quite the opposite, in fact. The pictures are sensitive portraits of women in a delicate moment of self-indulgence. The soft lighting coupled with the casual, skin-revealing outfits leave both little and much to the imagination. A photo series of mine revolves around intimate captures that are shot in such a way as to make the viewer feel not so intrusive. The subject remains mostly anonymous, allowing people to imagine their own significant others in her place or someone they wish to be their significant other. Poetic and poignant, the subject offers herself entirely.
Say something about this series in particular. You told me is all about lingerie and this is perceptible, but not a similar set has been done to promote women’s wear before! How the idea did come into your mind? How did you choose the perfect model to act in these weird and sensual positions?
Yes, this shooting was done for 25th hour lingerie. I did not think it would be possible for the audience to relate to products by adding a new lookbook to the ones you see everyday. It attracts my attention to see photography’s relation to daily life. That’s why in this series I used many elements that would make it easy for the audience to include themselves in the scenes. The model in this shooting brought her intuitions into the foreground instead of performing her work and that completed the fiction.