One of the ways Farid combated these initial issues was focusing heavily on his relationship with the people he was photographing. “A significant part of the process involved spending time with these people, where I wasn’t just taking their photographs,” Farid says. “I feel like building genuine relationships with the people I was photographing allowed me to develop an emotional connection and trust which translated into the photographs.”
Throughout the series, the ease people feel around Farid is palpable; in moments of group socialising the perspective Farid offers gives the impression that he’s involved, taking a shot of his friends. And in more crafted scenes, subjects appear entirely comfortable in his presence, easing their gaze directly into the lens. In one shot, a group of friends perch upon various objects – a plastic chair, a motorbike, the floor – while enraptured in a scene out of shot. The placement of the camera, seemingly from within the gaggle, perfectly captures the array of expressions, enrapture, amusement and confusion. In another, a child sits on a chair, looking calmly into the camera, the green of his shirt blending with the blue of the wall to create a serene if not slightly ethereal scene.
Now, while Farid’s passion for Indonesia remains, he’s looking to expand his focus and to turn his lens to other geographical locations, uncovering the connections they may withhold. “I am deeply curious about people and places in general, and I’m always intrigued to continuously seek out new experiences and observe how I behave,” Farid ends. We’re certain that wherever Farid choses to turn his lens to next, the result will be as equally moving and meditative as Angan-Angan Harsa.
