PhotoVoice is interviewing established photographers to gain a wider insight into the power of photography and the different approaches to ethical considerations.
This month we interviewed photographer Karine Zenja Versluis. Karine Zenja Versluis (NL) is a documentary photographer and visual storyteller based in Amsterdam. In her work she explores how people deal with their identity, culture and society in which they live and how it influences their daily lives. Find out more at www.karineversluis.nl or on Instagram at karineversluis
Where did it all begin and why did you choose photography and not another medium?
Since a young age I was always attracted to arts and creativity but as I grew up in a small village in the north of the Netherlands, I had no role models of people around me doing such kind of things for a living, so it never even crossed my mind that I would be talented enough to even enter an art academy. Instead I studied Social Work. During an exchange year in Barcelona, Spain, I met photojournalist Xavier Cervera, he was doing a reportage at the gypsy village just outside of the city, where I was doing my internship. One day he showed these colourful photos of a gypsy wedding he just made, printed on A4. That was the first time in my life I saw a photo reportage and realised that is something you really can do. I got inspired and started with some street photography, just by myself. After I graduated for my bachelor of Social Work I enrolled at the Royal Academy of Arts in The Hague (NL) to study photography and that’s how it actually started.
Tell us a bit about your approach to photography.
Mostly I like to work on long term photography projects. I like the research part, but also I like the editing part a lot. In my work I explore how people deal with their identity, culture and society in which they live and how it influences their daily lives. Photography is the base, but I also combine it with other media such as audio, video, found footage or text. Since the last few years I haven’t worked so much on photography assignments, because I just wanted to work on my own documentary projects. Instead I work part-time as a social worker in youth mental health care. And I also do participatory photo projects. This spring we finished the project Stay Strong Photo Stories, where Ukrainian teenagers photographed their daily life and experiences living in a country that is in a war. So I guess I like to do different things, but all related to photography, stories, people and society.
How do you decide if something is worth being captured?
A teacher told me once, when you are in the forest you don’t have to photograph trees. They’re already there. Just look at the things around or in between the trees. I always try to look just a bit further than just what I am looking at. That can be a certain look on someone, an intimate gesture, a funny detail, a ray of light. Something that can make the image more interesting. But most of the time I photograph based on my intuition. To photograph I need to have an idea of a story I want to tell. Sometimes an idea can stick in my head for a long time and then suddenly it is the time to start working on it.
Is there a single image that defines you as a photographer?
I don’t think there is just a single image that defines me as a photographer. Also because I mostly work in series, so I find that hard to answer. My images are about daily life, sometimes intimate, sometimes with humour. But I am not like a photojournalist that puts one whole story into one single image. My combination of images tell the whole story. So when I make a series, there are always some landscape images, always some images more close-up, and always some images of people hanging around. But I like photographing daily life and intimate moments.
Can photography bring about positive social change?
To really bring social change through photography is a big thing. I don’t know if photography is able to do that. But I do think that when people see stories it can change their perspective on looking at things. Maybe it can give people more understanding or empathy for the life of another being. Or maybe thoughts about one’s own life. So in that way it can change small things inside someone.
What is your approach to the ethics of photography?
When I graduated from studying documentary photography I did my thesis about ethics because I missed this during the classes. And as I was photographing people’s personal lives I found it important to think about these things. So I did some research and found answers from visual anthropology or documentary film. I also interviewed several documentary photographers about their vision about ethics and how to deal with the person you’re photographing. I think it is important to be clear and explain to the people why you want to photograph them, and what you want to do with the work. I always share the images with the people I photographed. When the work gets published or exposed I let the people know, sometimes asking the newspaper to send me some extras so I can send in to the people being portrayed. They gave me their trust so I feel I have a responsibility towards them to deal with these things in the best way possible to make it a good experience for them.
What’s been your greatest achievement as a photographer?
I see myself more as a visual storyteller than only a photographer. It is great to get your work published and exhibited, or even win a prize or be nominated for something. But it is not about success for me in that way. I think my greatest achievement for myself is to make something that’s close to myself, to follow my own path. And being able to make people feel something with your work, to connect with others through your stories and photos. I think for me that is the most beautiful thing.
How important do you think equipment is?
Sometimes when I am teaching I compare photography with cooking: you can have the most high-tech kitchen with very professional equipment, pans, devices or whatsoever, but if you don’t know how to cook it doesn’t really make sense, and it doesn’t make your food more tasty. On the other hand, I have met people living with very simple, or even poor equipment making the most amazing and delicious meals. So in the end, for me, it is about having ideas, a purpose and a good eye to make good photographs. And yes, it helps when you have photographic equipment or techniques to make your photos in the right quality. Especially when images are used professionally and for exhibitions. But nowadays most cameras (and even mobile phones) can make high quality images. A big inspiration for me is photographer Bertien van Manen, who unfortunately passed away recently. With a small and simple automatic camera she made the most beautiful and moving images.
Do you have any advice for aspiring photographers?
It is always good to look at work of other photographers or artists to get inspired, but try to find your own way and style. Choose stories close to yourself that you feel connected with. And find people around you to collaborate with, and who also can support you or give you feedback about your projects. There is a quote by David Bowie that I like a lot. He says: “If you feel safe in the area that you’re working in, you’re not working in the right area. Always go a little further into the water than you feel you’re capable of being in. Go a little bit out of your depth. And when you don’t feel that your feet are quite touching the bottom, you’re just about in the right place to do something exciting.”
Karine works with photography combined with audio, video, found footage or text. Her work has been published and featured in various exhibitions and festivals around the world. In 2023 she published her third photobook Debaltsevo, Where Are You? that was was shortlisted for the Book Awards of Les Rencontres d’ Arles 2023 (FR), selected in the top 10 best Dutch Photobooks 2023 according to Dutch newspaper Volkskrant and NRC, selected for The Best Dutch Book Designs 2023 (student jury) and Book of the Month by Leica. Karine studied photography at the Royal Academy of Art in The Hague.
