Interview with Pascal Sgrō (First prize 2024 BSPF Series)

©Pascal Sgrō

Tell us a little more about your background and how you started with street photography.

I studied photography at the Academy of Fine Arts in Brussels. I currently work in a photo lab making prints for exhibitions. During my training I worked mostly analog, always with a 35mm lens and flash. I also did a project on flash photography with people on the street. I really like the look of those kinds of images.

You use a kind of snapshot style, how did you come to that?

Five years ago I was working on a project about my Italian family. I always had a camera with me and I was taking pictures of them all day long of the moments we had together. Once I started developing the photos I was very excited about how the images looked and decided to continue working that way. That's really all there is to it, I felt that this was the style that suited me.

Which photographers have inspired you?

I love the work of Daniel Arnold, a street photographer from New York. He always takes very spontaneous photos and uses some specific techniques to take street photos. For example, he doesn't look into the viewfinder of the camera but holds it at chest level which gives you a completely different angle on the people. I sometimes use that technique now too. I also really like the images of Stephen Shore and Lars Tunbjörk. The latter took pictures in a small Swedish village and always uses flash. He also does that when he takes pictures for Fashion week, or when he made a series about people working at a desk. I also find Martin Parr's work very strong.

How did you get the idea to take photos at Lunch Garden?

That had a lot to do with nostalgia. When I was a kid, we often went with our family to eat at the Lunch Garden. So it's a place I have a lot of memories of. Sometimes when I saw, for example, a little kid with his family or grandparents, it did bring back some memories. There is a certain, somewhat strange atmosphere there that I really like.

But also the dishes served there, because they are still the same dishes of the past: meatballs with French fries, vol-au-vent... When I went back there after all these years, I noticed that nothing had actually changed. I asked the manager if I could take some pictures in the restaurant and in the kitchen, he made no problem about it, and that's how it started. Occasionally, someone would wonder why I was doing a project around food in that restaurant, mostly because they themselves don't find it such an interesting subject.

Did the people in your photos know that you were going to take their picture?

Yes, and actually it all went very smoothly because when I walked around there I wore the same uniform and hat as the Lunch Garden staff. That was required because of hygiene rules. So most people who were eating there thought I was one of the employees of the restaurant. If I asked them if I could take a picture, it was usually no problem. Only they did then sometimes ask me to help them get their coffee or something (laughs).

What were you looking for with your images?

I was mainly looking for interesting people. Actually, I didn't take that many pictures for this series. I went to the restaurant every Wednesday, on my day off, and took 20 pictures or so. First I ate something and then I took pictures of the people eating, sometimes also in the kitchen.

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You work mostly in Brussels, what does your street photography routine look like?

I walk all day long. I don't go to a certain place or stay and wait for something exciting to happen. I just keep walking around and keep my eyes open for interesting situations. I actually take fairly few pictures, I'd rather take one good one than lots of bad ones. When I shoot analog I shoot one roll of film, digitally I take maybe 30 or so.

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Of those roughly 30-40 images how many do you think are good enough?

I'm happy if I get a good shot out of a day of street photography. During my restaurant project, things went a little differently. Once I felt I had taken a good photo, I went home. I didn't try to take a second good picture that day.

So how long did it take you to get a good picture?

Usually there weren't that many people in the restaurant so the options were pretty limited. Sometimes I had a good image after only 30 minutes, other times I stayed longer, up to 5 hours. It really depended on the day.

You already cited that you shoot both analog and digital. What equipment do you use?

I have an analog Leica M6 and a digital Leica M11. I always use the same lens: a 35mm Summilux, and a flash.

When I started with photography, I had a compact camera that I used to take snapshots with, and there was a 35mm lens on it. So I was used to working with that lens.The 35mm is not ideal for taking portraits or anything like that, but for my kind of photography it is ideal: not too wide but not too much telephoto either.

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You do have to get close to people to photograph them reasonably frame-filling.

Indeed. I like my photos best when I get very close.

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Many people find street photography difficult because they are afraid to get close to others. Did you ever have trouble with that?

At first yes, because I was afraid of their reaction. Now I'm used to it and it doesn't bother me anymore.

How did you overcome that fright?

I just got older I guess (laughs). If you do it every week that fright goes away. Taking pictures of people eating in a restaurant is still stressful. If you get a bad reaction on the street, you can just walk on or walk away. Sometimes people also don't realize you are photographing them. In the restaurant, however, it is very dark and if you flash then it is immediately very clear what you are doing. The flash also stands out in the rest of the restaurant. You really can't hide the fact that you are taking pictures.

The whole situation of taking pictures of people eating is also strange, of course. Nobody likes to be photographed while they are eating. Sometimes I ask if I can take a picture because a situation looks interesting, for example, but once they know you are going to photograph them, they stop eating and the moment is over. Asking to pretend I'm not there usually doesn't work.

Based on your experiences, what tips would you give to people who want to start with street photography?

Try many different techniques, both analog and digital but also different lenses. I like to use the 35mm but others find the 28mm ideal because it makes it easier to shoot with hyper focal focus so everything is in focus from, say, 1.5 meters to infinity. Also tryworking with flash for example. If you work with flash you can also set a larger f-stop and it is easier to focus.I think itis also important to show your images to others: photographers, galleries...Don't be afraid to contact those people by email or Personal Message even ifthey are 'important' photographers. They can give you advice about your images.Social media makes it very easy to get in touch with them.

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Have you already done that?

Yes, I showed my photos for the series I submitted to BSPF to several people. They then sometimes give you ideas you would never have thought of yourself. If several people like a particular photo, you can assume that it will probably be a good image.

You live in Brussels, a big city where a lot is happening all the time. What if you live in a smaller town or village? Can you do street photography there as well?

I think it's important to try to avoid exotic photos. Show your own world, the place where you live. I like to make series about ordinary, everyday life. I think those kinds of photos are important. They are future memories about how life is now.

How did you come in contact with the BSPF?

Last year I attended a workshop with Max Pinckers and I showed him my Lunch Garden series. At that time I only had a few images and I wasn't sure how to turn them into a series. Max then gave me a lot of tips. Around the same time, I saw flyers popping up here and there about BSPF. I really wanted to participate but wasn't sure what to show. At first I thought about sending only single images, mainly because I thought that photos taken indoors could not pass for "street photography”. Others felt I could participate because street photography cannot be done only outside, on the street.

What was your reaction when you found out you had won?

It was very strange actually. I never expected to win but of course I am very happy that I won because it gives me the funds to help create a book about this series. I've been working on it for two years now and I'm going to continue with it for a while I think. Not that I go every week now but I still visit the Lunch Garden once or twice a month.

How will you know that the series is finished? Is there a certain end point do you think?

Maybe it never stops, but first and foremost I want to build a solid catalog of images. Currently I have about 40 images that I think are good enough, but I want to have more, and I also don't feel pressure to finish that series as soon as possible now. I have time...

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