selected images from a series of "shortcuts"
(catching the bus, getting off at the last stop, discovering shortcuts by following people who leave the bus; following people along the way, especially the children. these are parts of the city that are close to the centers but not a center themselves; in-between places of ?stanbul)
how do you do this without creating a poverty-pornography. this was my own critique to myself later on. people pass through ther people's frontyards or backyards to get home, but they are neighbours and have a silent agreement; the camera, however, is the displaced eye of the tresspasser, the stranger, the artist astray.