Ozlem Buyukevren, a gifted photographer from Turkey, has dedicated her career to documenting disappearing cultures, untold stories, and shared human experiences from around the world. This interview delves into the heart of her craft, exploring her unique ability to preserve fleeting moments and document humanity’s rich diversity with empathy and authenticity. She shares the moments that ignited her passion for photography, the challenges of documenting sensitive topics, and the personal discoveries that have transformed her perspective on the world.

Her journey as a photographer is deeply rooted in passion and meticulous preparation. Influenced by the work of iconic photographers like Diane Arbus and Sebastião Salgado, Ozlem combines a commitment to storytelling with an instinct for connecting with her subjects. Whether living among communities to gain their trust or respecting sensitive cultural boundaries, her approach is defined by care, respect, and a genuine desire to share the beauty of different ways of life.

Ozlem’s work reminds us that photography is not just about capturing images—it’s a way of preserving history, fostering empathy, and connecting us all through the universal language of emotion and humanity.

A: Can you share the moment or experience that made you realize photography was more than a hobby and would become your lifelong passion?  

O: Yes, photography is a lifelong passion and excitement for me. The large family I have created and the beautiful memories I have accumulated are enough to keep my passion and excitement alive.

When I look at the archive and see the photos of my heroes, I go back to those days. I have a notebook that I always carry with me to take notes during my photography trips, where I write down the name of the person and relevant information so that I don't forget. It is not possible to keep everyone in your mind, but strangely enough, sometimes you don't even need this notebook because you remember some of your heroes who have left a deep impression on you.

I like to revisit the heroes I have photographed and give them one of the photos I have taken - it makes me and them very happy.

In fact, one of the things that affects me the most is the absence of some of the heroes I photographed. I've experienced this a lot in my DEQ project, it's about 9 years old and every year I go to that area to take photos, because it's a very precious and disappearing culture. And every year when I go, I find out that some of the women I photographed have passed away, I talk to their families and I remember those days again. That's when you realize that it's not just about photography, it's much more than that.

Lives, experiences, memories, shared moments... much more... That's why photography is not just a hobby for me, it's a very important part of my life. Because this part is made up of a very large treasure of mine, and treasures are always very valuable.

A: What inspired you to explore and document different cultures and lives through photography? What excites you most about discovering new cultures?

O: I really love watching documentaries, in fact, it would be fair to say that documentaries are the only thing I watch on television. Watching these documentaries has channeled me in very different directions. I also love the human element in my photography, feeling and conveying emotions, and even sometimes the story that the viewer themselves writes when looking at my photograph.

I always advocate that photography should convey and evoke something, and sometimes even teach. If I hadn't taken up photography, I would never have witnessed these different cultures, different ways of living, regardless of their religious language. Yes, there are many documentaries about the cultures you are curious about, but going there, living it, witnessing it, and sharing precious moments with them brings so much more joy and adds so much more to your life.

Every new culture I encounter, with its unique rituals, traditions, and ways of life, amazes and astounds me, and I feel so fortunate to have documented them through my photography. For example, the festivals celebrated three times a year by the Kalash people of Pakistan, the Yazidis who have to leave their villages and return each year to celebrate their holidays, or the Padaung women I've witnessed in Myanmar. Understanding these diverse lifestyles, documenting them through photography, and sharing them is an incredibly rewarding process for me.

Therefore, discovering and documenting different cultures through photography is an exhilarating and inspiring process for me. It changes your perspective. Exploring the richness and diversity of the world, understanding humanity's common denominators and differences, is extremely fulfilling.

A: Are there any photographers, artists, or storytellers who have profoundly influenced your style or approach to your craft?

O: Yes, absolutely.

As someone who loves taking portraits, I have been strongly influenced by the powerful and striking portraits of Diane Arbus. Her ability to reflect human conditions and differences has always sparked my desire to explore.

Sebastião Salgado's powerful black and white photographs have an incredible depth of emotion, conveying social issues and the human condition. His work "Workers" is truly captivating.

Dorothea Lange was an incredibly powerful documentary photographer, and her photograph "Migrant Mother" is one that has left a mark on me.

And Ara Güler is truly a legend for me. Through his photographs, I have seen the old Istanbul that I never experienced, and discovered that change through his work.

And there are many more. I love studying photography and trying to read the stories in the photographs I examine. I'm interested in what the photograph is trying to convey, the emotion it evokes and the feeling it tries to impart. This always helps me to focus more deeply on my own work and add more of myself to it.

A: You’ve described photography as a way of writing stories with a camera. Can you share a favorite story behind one of your photographs?  

O: I don't want to say it's my favorite story, but I think it's one of the stories that has influenced me the most. One of the first projects I worked on was on refugees. As you know, Syria is a neighboring country of Turkey, and during the Syrian war, many Syrian families had to leave behind their memories, their past, and even some of their family members, to come to Turkey to protect their children.  And in that region, an incredibly large refugee camp was set up. It was such a large camp that it had everything from schools to hospitals within it.

I wanted to take photographs there and applied for the necessary permissions. This process was really difficult for me. I was only granted a 3-day permit.

I spent 3 days living with the people in that refugee camp. Since I didn't know their language, I walked around with an interpreter. I ate meals with them, drank tea, played with the children, and had many conversations. I can't forget the unease, the traumas, the fears I saw in the eyes of those people, especially the children. And I can't forget a small child hiding behind a tent, clutching their only toy - a deflated ball.

What I experienced there was beyond just taking photographs - I just wanted to be part of their community. That's why I didn't take too many photographs, because I could see they were uneasy even at the slightest sound of my camera.

I don't know what happened to those children, how they continued with their lives. I'm very curious to know if they can still laugh, if they still have hope, if they have plans for the future. But when my photography session there ended, the only thing I said was that "Children should only cry for candy." What I experienced there has left very deep marks on my life.

A: When preparing for a project, such as capturing the Yazidi festival or documenting Kalas People in Pakistan, how do you plan your approach? How important is research and preparation to your creative process?  

O: Absolutely, it's very important.

Whether it's the Yazidis, the Kalash people, or others, if I don't have sufficient knowledge about them, I won't be able to effectively tell their story. I need to have information about their culture, beliefs, traditions, way of life, cuisine, superstitions, and many other aspects. For this, I need to do very thorough preparation - read extensively, watch many documentaries related to them.

Timing is crucial for an effective story, so if there are any special days, festival dates, or other important details, I need to be well-informed about those.

I always try to communicate with a local person from the places I plan to visit - this is an indispensable element for me. Being able to better understand that culture and communicate more effectively is perhaps one of the most important factors. Because sometimes, even with all the knowledge, I may not be allowed to take photographs at all in the places I visit. When that happens, no matter how much you know about the culture, you end up just having conversations and filling another page in your notebook. But if you go with someone from the local community of that region, then everything becomes much easier.

The research and preparation process is truly important, because as I always say,  I travel to take photo.

A: Travel photography often involves engaging with sensitive subjects, such as the Padaung women or the displaced Yazidi community. And cultural sensitivity is a key element of your work. How do you navigate complex or unfamiliar cultural contexts, especially when you are an outsider? How do you ensure your approach remains respectful and authentic? 

O: When I want to photograph sensitive topics in travel photography, a respectful approach is truly important. When I go there knowing their traditions, beliefs, and sensitivities, I have a better idea of how I should behave and what I need to pay attention to when taking photos.

I always make sure to communicate with the person I'm going to photograph beforehand. I try to gather information about them and provide information about myself. I always explain my purpose, why I'm taking the photos, and how I plan to use them, and I get their approval. I never, ever take photos if the person does not give permission.

In all my interactions, I'm very careful to be honest and respectful. I try to empathize. Spending time with them, listening to their stories, gives me a better idea of what I want to convey.

It's always easier to photograph someone from your own culture - you can communicate more easily and understand better. But photographing different cultures feels like a personal challenge to me. It's always more challenging, but if you are able to convey that sincerity and trust, you can overcome that challenge more easily.

For example, when I went to photograph the Yazidis, something happened. They have a midday meal ritual during their ceremonies, where they set up huge tables and anyone around is invited to eat. They invited me to join, and I was presented with a dish I had never eaten before. When I told the guide I couldn't eat it, they said I absolutely must, as not eating would be seen as disrespectful. So I ended up eating it, even though it was difficult for me. Those were truly incredible moments for me.

If you want to get to know people from different cultures, you need to be knowledgeable about many aspects, and when you visit them, you should act as if you are one of them. I admired the Kalash people so much that a young man there even told me I was now a Kalash woman. Hearing that and seeing that they accepted me was an incredibly powerful feeling.

A: You’ve photographed challenging and sometimes dangerous environments, like terrorist zones and industrial sites. How do you prioritize your safety while still capturing the essence of these places?

O: I really didn't know how to answer this question, and I asked myself the same question now. I think I couldn't find the answer, and I realized that I haven't taken much precaution in this regard. When taking photos in a steel factory or a coal mine, the only thing I wanted was to take photos. I never thought about how it might affect me or what might happen to me. In industrial areas, I always had a guide with me, and they had designated a few places where I could take photos, so I only took photos within those boundaries. Now, reflecting on this question, I think they were more concerned about my safety than I was.

When I'm taking photos, I seem to lose myself, and I'm sure I could have gotten myself into trouble in those situations.

But if you're talking about terrorist zones, some regions of Turkey were under the influence of terrorism for years, and we couldn't even go to those areas in our own country. I thought those areas were safer now, but when I went there, I heard from the local people that some places were still not good, and they even warned me not to go to certain villages. There were a lot of military checkpoints and barricades on the roads I passed, and it was a bit unsettling, and I would think "what am I doing here" every time I went through them. But when I picked up the camera, I would forget everything.

I had a similar experience when I went to the Kalash region, as it's right on the border with Taliban territory, we had to take a part of the journey accompanied by military vehicles. I guess that's what passion looks like sometimes. This question was really difficult for me to answer because I realized I didn't take any precautions regarding these issues at all, I just followed my excitement and sense of exploration. I think I need to be much more careful about this in my future travels.

A: You’ve described discovery as the greatest feeling in travel photography. Can you share a moment when an unexpected discovery impacted your work or perspective?

O: Ah yes, as a travel photographer, you can return from the miles of road you've traveled without getting what you wanted. Just like how I went to Iceland and came back without being able to photograph the northern lights.

I'm actually not a landscape photographer, but I wanted to experience the beauty of nature and witness those moments. I planned a 1-week trip to Iceland, but I returned without seeing or photographing the northern lights. Yes, that's the nature of photography. You should always be prepared for the things you really want but can't achieve. You definitely need a bit of luck when taking photos. Even though I never got to see or photograph the northern lights, I had the chance to photograph the incredible nature and beauty of Iceland.  

And I experienced a shift in my perspective during my DEQ project in Turkey. I went to visit one person multiple times, just to take their photo. We had a great connection, but they never allowed me to take their photo. I really wanted that face to be part of my DEQ project, but it didn't happen. The last time I went, they even hosted me, but still didn't let me take their photo.

These experiences made me realize that I always need to be prepared for anything, and I should keep in the back of my mind that I may not get what I want when I go to take photos. Even if I can't capture what I set out for, there are many things that still remain valuable to me. I try to just savor the moment.

A: Through your travels and the stories you’ve captured, how has your perspective on the world changed over time? Any specific traditions, rituals, or interactions that left a lasting impression on you?   

O: In my travels, I've been deeply impacted by cultures with rich traditions, beliefs, and lifestyles. That's why I'm planning to travel to these places a second time to get to know them more closely. The Kalash people and the Yazidis are definitely among the cultures I will visit again. They have incredible histories, and everything they share and tell is very impactful.

The Kalash people live in three valleys on the border with the Taliban in Pakistan. Despite being surrounded by a strict Muslim community and being on the Taliban border, Kalash women have incredible dignity and freedom. Despite these geographic challenges, they have managed to preserve their traditions and customs. They drink their own homemade wine, and during their three annual festivals, women and men dance together. For example, divorce only happens when the woman wants it, and women who want to change their husband can write a letter proposing marriage to the man of their choice, and pay the bride price for the marriage to happen.

Kalash women also isolate themselves in Bashali houses during their menstrual cycles, as they believe they are sinful during this time. They also believe it's inauspicious to wash their hair at home, so they wash it by the water's edge.

I was also very surprised by many things about the Yazidis. They are an incredibly hospitable and warm community, but they also have very strict rules. The Yazidis pray facing the sun, as fire, sun, and water are sacred to them. This is why they don't have places of worship, and I was shocked to learn that the punishment for converting religions or marrying someone from another faith is death. They also avoid eating certain foods like lettuce, and some animals like the black snake are sacred to them, so you can see them during their celebrations.

Being a guest in these rich cultures and lives enriches you as well. Your perspective changes, and I think as I get to know different cultures and traditions, I'm shedding my prejudices. As I begin to see the commonalities despite the differences, I realize that the common language of a smile is what really matters. Despite our diversity in beliefs, cultures, and faiths, we share this world, and the only thing we need to do is practice empathy and respect.

A: We’ve talked about the meaningful stories you uncover through photography, but I’m curious—what other types of stories do you enjoy? What are your favorite books or movies?

O: I absolutely love reading books, and I have a vast personal library. Sometimes I even re-read books that I've deeply connected with and that have left a strong impact on me. The most recent book I read was Nadia Murad's "The Last Girl," which I picked up to gain a better understanding of the Yazidi people. It was an incredibly impactful book, and I read it while fully immersing myself in every moment.

After attending a Yazidi festival, I decided to read the book again. I was curious to see how my experience and newfound understanding of the Yazidi culture would shape my perception of the book. Reading it again with a fresh perspective after being exposed to their traditions was a meaningful exercise.

While I thoroughly enjoy watching films, I always prefer to experience them in the cinema setting. As I watch each scene unfold, I find myself searching for photographic moments and making mental notes of them. In a way, I feel like I'm nourishing my photography with these cinematic experiences, using the visuals I encounter as inspiration.

A: You often emphasize the importance of passion in your work. What advice would you offer to aspiring photographers seeking to discover and pursue their passion in this field?   

O: There are certainly important points in continuing and developing a passion for photography. First and foremost, you must allow the art of photography to excite and give meaning to you. Being a passionate photographer does not simply mean having excellent technical skills. There needs to be an intrinsic connection and emotion in the photographs you capture.

My advice to aspiring photographers would be to focus on subjects, themes, or styles that truly motivate them. The sense of discovery will always keep that desire alive. Essentially, they need to allow themselves to simply enjoy the act of taking photographs - to engage with the moments that captivate them.

As a documentary and travel photographer, I can say that respect and empathy are paramount. I would advise against taking photographs of models without first communicating with them, introducing yourself, and obtaining their permission. The connection and communication you establish should always be a priority, and you must allow the model to get to know you as well. Empathy is crucial in this scenario. They must understand that the subject of the photograph is their model, no one else. No matter how technically skilled you are, it will be meaningless if you do not have that fundamental respect and connection with your subject.

A: Looking ahead, what are the next projects or stories you’re most excited to explore and share with the world? Are there any uncharted places or untold stories you’re eager to bring to light? 

O: Yes, absolutely. But I do want to complete some of my ongoing projects.

I will revisit the Kalash people and the Yazidis, as there are still some aspects I feel are missing from my work on this project.

I have also been researching a community in the far northern region of Russia, the Yamal Peninsula, where the Nenets people live as reindeer herders. This is a very challenging prospect for me, as the destination is extremely cold, and there is no proper lodging - I would have to stay in tents with the Nenets community for at least 10 days. I have some reservations about the harsh cold, but I am determined to undertake this project.

Another community I am eager to visit is the Pamir Turks. I have conducted extensive research on this group as well, and the logistics are equally demanding. They reside in a remote region of Pakistan, in the mountains, and to reach the Wakhan Corridor where they live requires special permits. The journey would involve traveling on mules and trekking for kilometers.

There are so many undiscovered places waiting to be explored, and each new discovery opens doors to the next. The thrill of embarking on a new expedition is something that reignites my passion again and again.

You can find more about Ozlem following these links: