Ray Haddad's photography induces visions of an intimate nature. Humanity in raw form is a beautiful and beguiling sight and Ray seems to capture it quite naturally. I love the way he can put his subjects right out there...naked. He tells a story with every picture. You have a sense that you are seeing through his eyes without interpretation. His perspective is genuine and interesting to look at and although the content is interesting enough, it is ultimately the moment he shoots them. For me, it would be very difficult to do this...how do you know when its the right moment? (This is why I'm not a photographer.)

There is drama in Mr. Haddad's photos and you get a real sense of emotion when you lose yourself in his work. It is as if you know the people he's photographing, you feel their pain, their joy and are off-set by their realness. Another quality I like most about him is that he captures the essence of New York. He makes it living and breathing as it is and to me this is the sign of an exemplary photographer.

Ray is a social documentarian out on the street seeing what is that is. His ability to seize the moment with such ease and naturalness matches that of his personality. I basically love his work very much because it stirs me. If a picture can do that to me, then its impressive.

Did it take a long time to develop your style and technique or was this just a natural occurrence?

It took a few years. My background is in journalism and it took a while to learn how to get photojournalism-type shots without a story, without an assignment. Plus, I’ve always been very introverted, and when you shoot wide angle like I do, you really have to get close. My camera has helped me to break out of my shell, to meet people, to put myself in unusual situations. In the beginning I was scared to death to approach a stranger! But not anymore — I never want to miss a good opportunity.

You choose from very lively subject matter. How does this come about and how do you approach your subjects?

I never thought about it as being lively, but you’re probably right. I feel very alive when I’m shooting and I get something great, so I’m sure that comes through in my pictures. One thing I love about what I do is that it makes me keep my eyes open, always looking for interesting people, interesting things. Looking at the world through the lens has trained me to see things I might not have noticed before, random stuff that gets taken for granted, but for me is like, “Whoa, check that out!” As for how I approach strangers, it depends on the situation, but I usually just introduce myself and let things happen.

What do you love most about your work? Dislike?

What makes me happy and what brings me down is the same: not knowing when or where my next image will come from. It’s frustrating, but that’s the way it is when you’re shooting spontaneously. It’s incredibly rewarding when it finds me and I get something good.

What would be a dream photograph for you?

I like to think of all my photos as little dreams open to interpretation. The next photo I take that I’m truly happy with will be my dream photograph.

Is there anything you wouldn’t take a picture of?

When it comes to shooting strangers I try not to be too intrusive. If people aren’t comfortable with it, I respect their privacy. I don’t push it.
 
Who really impresses you as a photographer?

Holly Van Voast. She has a unique, highly original vision. Her photographs are sophisticatedly beautiful, intellectually interesting, and always a source of inspiration. She’s brilliant. (hmmm....didn't I feature her?)

What do you think defines your work?

My best photos tell a story and have a definite sense of emotion: sadness, humor, wonder. They’re very human, and anybody can relate to them. They also have a certain kinetic energy.

True street photography in the strictest definition is very fly on the wall. The subjects aren’t aware they’re being photographed. That style doesn’t interest me very much. It’s too detached; it lacks intimacy. I blur the line between street photography and photojournalism: I guess they call it social documentary. Looking at my images one can’t help but feel a connection, and there’s also a connection between the subject and me that comes across in the photos, and I think that’s very cool.
 
Any plans on going commercial?

I’m at a crossroads right now and I’m still deciding which route I want to take, whether to find work in the media or go more in the way of grants or galleries, maybe try to get a book published. I’m not very ambitious. Sometimes I feel I should be doing more to get my work seen. Other times I feel it’s the act of taking pictures that I love and I should just concentrate on that. My attitude is that if something comes to me, like this interview for example, fine. If not, I can live with that, too.

What are some challenges you’ve faced in photography?

I’ve been threatened. I’ve been bitten by dogs. I’ve been pushed around by hot-headed cops. These things are bound to happen when you go places you don’t necessarily belong, but the experiences have given me a good instinct for how far I can go.
 
What is your most memorable travel experience?

Hmmm … probably taking the “slow and perhaps dangerous overnight train” (that line was from the official Bulgarian tourism website!) from Sofia to Istanbul. Sixteen hours on a bumpy railroad with nothing to eat except a single sandwich prepared at the Bulgarian Central Station — now that’s something you never forget.

These are just a smidgen of what Ray captures. If you would like to see other amazing work of his, you can visit his site HERE.

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