Alexander Petrosyan masterfully melds the worlds of contemporary photojournalism and street photography, crafting captivating narratives through his lens. Through his camera, the ordinary lives of everyday Russians transform into extraordinary tales. With an innate talent for noticing the overlooked, Alexander’s photographs are a testament to his keen eye for detail.
His work has the power to evoke laughter, contemplation, and profound introspection, allowing viewers to immerse themselves fully in the captured moments.
Scroll down and inspire yourself. Please check Alex’s Instagram for more amazing work.
You can find more info about Alexander Petrosyan:
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“I was born in the western Ukrainian city of Lviv, and almost all my childhood passed there. I was lucky to live among the old European architecture, this could not but affect the subsequent perception of the surrounding.”
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“I got carried away with photography from childhood. At the age of 14, I received the first camera, I have not cooled since that time. By nature, I’m an observer. The camera helps. I am interested in life in all its manifestations.”
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“I have been shooting for a long time, but I do not have a certain framework. I can be interested in anything that happens before my eyes. Most of all, the moments attract you when you look into the viewfinder suddenly you have bright, strong feelings; And sometimes they are so pronounced that it is possible to pass them to the viewer! The possibility of retransmission of the energy of sensations is for me the most important thing in photography.”
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“I rarely like my pictures: almost always it seems that it could have been better and more interesting to remove; In fact, anyone who collects their own portfolio, makes continuous selection-from good to good, and further, to the best. It’s hard to trust yourself: the taste is changeable; Probably the most accurate estimate can only give time. Therefore, if you like my work, I suggest that you choose what will be interesting on my pages on social networks.”
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“In my opinion, the “street” picture is good just for its ability to engage the audience in the event in the picture, not leaving it indifferent. I do not like pictures where the author is content only with his skills to catch interesting combinations of phase, rhythm, plasticity, chiaroscuro and other factors in Brownian traffic on the street. It is much more valuable for me to combine form with content, which appeals in more depth semantic plans, even if not directly depicted in the picture.”
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