The birth of photography, opening up abstract possibilities in the realm of visual arts, perhaps cursed it by fixing its role even back then. The expectation from photography is still a strong affirmation of reality. People want to believe in every single frame they see to such an extent that even the slightest "touch" that could make them doubt leads to a feeling of deception and, subsequently, anger.

This simple observation has been the most common dilemma I have encountered throughout my forty-year-long journey in photography because, since the day I first held a camera, I sought ways to express myself through this tool in some way. Of course, having complete freedom in this regard does not imply that its consequences will be widely accepted.

While all other arts are subject to infinite acceptance, infinite experimentation, and exploration, when it comes to the art of photography, even though it is not explicitly limited, it faces limited acceptance. While belittling a photograph, simply calling it "Photoshop" is sufficient, whereas in other art forms, saying "a stroke of the brush" doesn't carry much meaning. From this perspective, it can be easily seen that photography has suffered considerable injustice.

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The photographs in this book do not have an abstract side. I simply used the tones that I associated with Paris, which I dearly love, and the colours that I found personally sufficient. I was never concerned with reflecting reality. If anything, I can say that I tried to carry and convey a feeling.

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​For the curious, a small note: The photographs in this book were taken between 2017 and 2021, at different months and times. Until 2021, Sony digital cameras with Canon lenses and some vintage lenses were predominantly used, while this year and beyond, Hasselblad medium format digital and analog cameras with Hasselblad lenses were used.

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From the foreword by Kaan Sensoy 

14 June 2023, Amsterdam