Departing from the immediacy and crispness of modern digital street photography, this series embraces a slower, more interpretive mode of seeing. The pinhole—a lensless aperture scarcely larger than a needlepoint—introduces an intentional imprecision. Light enters directly through the opening onto the sensor, resulting in images with an extended depth of field, diffused focus, and a longer exposure. This method recalls early photographic experiments and brings with it a quiet resistance to clarity, celebrating instead atmosphere and suggestion.

 

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In this work, New York is not rendered as a hyper-documented, bustling metropolis, but as a softened, dreamlike terrain. Figures dissolve into the architecture; buildings lean into light; shadows stretch beyond their bounds. By using a digital pinhole camera, I aimed to remove the sharpness that so often defines our visual culture and invite viewers into a slower, more contemplative reading of the city. City Dreams engages not only with photographic technique but also with perception itself—posing the question: how does the city look when we stop trying to capture it and instead let it drift?