With the precision of a journalist and the soul of a poet, Will Brake crafts photographs that breathe emotion and human fragility. From the quiet poetry of delicate moments to the pulse of charged streets, his work excavates profound truths. His masterful frames linger like an unspoken conversation — intimate, stirring, and impossible to forget.
An exclusive interview with Pure Street Photography
Brake reminds us that the most powerful photographs are often taken half-consciously, guided by instinct rather than intention. His philosophy defies the algorithm, urging artists to create for meaning, not metrics. Above all, he leaves us with a resonant truth: one honest image can echo louder than a thousand polished ones ever could.
Interview by Dimpy Bhalotia and Kamal Kumaar Rao
25/07/2025
(c) Will Brake
(c) Will Brake
We would love to know more about you! Who you are and where you're from? When did you start street photography?
My name is Will Brake. I am originally from the state of Georgia in the USA, but I am currently based in Incheon, Korea. I have been living here for the past few years and started photographing here, as well.
What inspired you to become a street photographer?
I have always been fascinated with people-watching since I was a child. In my university days, I was lucky enough to have picked up a copy of Henri Cartier-Bresson’s The Decisive Moment, which introduced me to the art. At the beginning of 2024, I became more fascinated with street photography and started practicing it myself after observing how much Korea has changed during my short time here.
How would you describe your work in terms of style and/or approach?
I approach taking photos in the same way an author would approach writing a story, as I do believe that photography is much closer to writing and poetry than it is to other visual arts. In each of my photographs, I strive to create an authentic narrative about my subjects’ personal circumstances and how they interact within the broader context and environment. I began by trying to create pleasing compositions with my subjects placed carefully in the frame. These days, my focus is much more on capturing expressive, emotional moments. However, for me, my approach has always been the same.
(c) Will Brake
(c) Will Brake
What is your photography routine like? Do you photograph every day?
Since I work a full-time job, I can’t go out and shoot every day. So, I try to go out to photograph at least one day out of the week. On the days when I’m not out shooting, I still dedicate some time to reviewing my photos, editing and sequencing, and studying my photo books. When I am out shooting, I usually need a few hours to warm up, and then I can “get in the zone”.
For me, the act of taking a photograph is done half-consciously, and while I know what I’m looking for when I’m out on the street, I can’t articulate exactly what makes me decide to press the shutter. I usually wait at least a couple weeks after I take photos to take a serious look at them, and I find this separation essential. My favorite photos reveal themselves to me during review, and usually, they’re the ones that I took without thinking.
What camera or mobile device do you use for photography? Do you shoot digitally, on film, or a mix of both?
I currently use a combination of a Fujifilm X-T3 and an X-E4, digital only.
What challenges do you face when photographing on the street?
Street photographers, myself included, often don’t take into consideration the knowledge and experience gap between themselves and their subjects. While the photographer knows what she/he is doing, their subjects usually do not. Members of the general public don’t have any frame of reference or even know what street photography is. Korea presents further challenges because people here are extremely protective of their self-image, and this country has had bad experiences with “people taking photos of strangers”.
I try to maintain a careful balance between capturing what I want to capture and treating my subjects with an appropriate level of respect. Confrontations are part of the practice, and it’s sometimes challenging to de-escalate while communicating across cultural and linguistic barriers. That said, being interactive and honest with my subjects goes a long way.
Do you ever wonder what happens to the people in your photos?
There are a few recurring characters in my photos, especially during my coverage of the protests here. The more I go out and photograph the protests, the more I talk and interact with the people there. I’ve reached a certain level of familiarity with a few of the protesters, but I only know them in this context. So, I often wonder about their personal lives outside these demonstrations.
As for the subjects of my “normal” street photography, I may look at a photo that I took of an emotional moment and wonder about how the subject experienced that same moment. Sometimes, I have a vivid memory of taking a photo that replays itself in my head every time I look at it. When that happens, I think a lot about what might have happened in the moments before and after the short interaction.
(c) Will Brake
(c) Will Brake
In your opinion, what is the biggest misconception people have about street photography?
These days, people have huge misconceptions about things like consent and image rights in public spaces. It’s a popular talking point online to list out about all the things street photographers “shouldn’t” do, rather than engage in a nuanced conversation about the practice and the artworks produced.
These misconceptions about consent and image rights are a modern phenomenon, and I believe they are a reaction to the current state of mass surveillance and tracking. Because photographers are more visible (especially those out on the streets), it’s easy for some people to point a finger at us and incorrectly say that we are the main culprits who are invading their privacy.
What are your favourite elements to capture in a street photograph? (light, colour, composition, human interaction, etc.)
I began street photography by looking for clean compositions and shadowplay. These days, I am more focused on the expressive/emotional component. So, I find myself getting closer to my subjects. As the most important part of a photo, for me, is a strong narrative, that is what I try to create first and foremost.
Street photography is the photography of life, so every street photo should make a clear statement about modern life. Usually, this means including the human element and getting up close to your subjects, but not exclusively. Whether or not a photo includes people, if it contains a story, then it’s a good photo.
What is your take on social media influence on street photography?
While social media is a great place to share work and build up a community, it’s easy to misuse as a newcomer to art and photography. When it comes to street photography, there’s a lot of content on social media that misrepresents the art and gives people the wrong impression. I’m talking about some videos that pass off street portraits or even staged photoshoots as street photography.
I have observed a lot of confusion among photography newcomers between “art” and “content”. If one treats their art as social media “content”, to maximize their followers and engagement, they will need to stick to a consistent posting schedule and create images with a consistent, broadly-pleasing-yet-forgettable look. Engagement numbers disincentivize experimentation. Social media is “the only game in town”, but artists of all disciplines should strive to create art that is true to their vision and not clouded by the desire for a few more likes image.
Are your prints available for purchase? If so, where can art buyers and collectors contact you to purchase them?
If you are interested in purchasing a print or zine, please reach out to me either in an email or Instagram DM, and I will arrange something for you.
(c) Will Brake
(c) Will Brake
What advice would you give to aspiring photographers?
1. Start photographing with a tighter focal length. For me, I spent the first six months almost exclusively on a 50mm lens. Learn composition in this way, and then you’ll be better at composing with wider focal lengths.
2. Self-critique is your most powerful tool. Set high standards for yourself and don’t be afraid to throw away anything that doesn’t meet them. Strive for continuous improvement each time you go out. If you finish the day with one decent photo, that’s a great success.
3. Do your homework by reading some theory and studying photo books. Also, explore other kinds of photography and other forms of art outside of street photography. These should be your main sources of inspiration.
4. After one year of photographing, pick out your one favorite photo from each month. Then you’ll clearly see how you have developed, and you’ll have the beginning of an excellent photography portfolio.
5. If you’re not doing client work, remember that you’re photographing for yourself, not for others. If you feel drawn to doing something new, you should do it, even if it subverts your audience’s expectations. Experimentation will pay off in the long run; don’t get complacent.
A huge thank you to Will Brake for sharing his incredible journey.
In Frame : Will Brake