Panos Chatzistefanou ''Offline'' Project, women in everyday moments-Moments Collective

Panos Chatzistefanou (b. 1984) is a self-taught photographer residing in Athens. His work focuses on capturing the intimate, everyday moments of women in their homes. Through his lens, he reveals the subtle beauty and profound intensity hidden in simple moments. These women, within their personal spaces, reflect quiet existential anxiety and inner turmoil. Panos's photography highlights the delicate balance between vulnerability and strength, providing a glimpse into the universal experience of introspection. He aims to challenge social preconceptions and uncover a different dimension of daily life, showcasing the extraordinary in the ordinary.

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How did you begin your journey as a self-taught photographer? What inspired you to start?

My journey as a self-taught photographer began with a deep desire to document personal moments, primarily through travel. Initially, I approached photography as a way to capture memories, but over time, I realized the medium held much greater potential for creative expression and storytelling. This realization led me to enroll in my first photography seminar, where my perspective on the craft expanded significantly. I started photographing everything that intrigued me—from everyday moments with family and friends to the subtleties of my daily life. This period of exploration allowed me to experiment freely, gradually helping me refine my visual language. Over time, my work became more intentional and focused, as I sought to communicate specific ideas and emotions through my photography.

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Your work focuses on intimate moments of women in their homes, captured with an artistic mood. What drew you to this specific subject matter?

Initially, my work centered on capturing the everyday, mundane moments that people often overlook. I was interested in highlighting the beauty within the ordinary, specifically because it is common and relatable, allowing the viewer to see themselves in the protagonist. At first, I aimed to create a kind of ‘anti-social’ photography, not in the sense of being antisocial, but rather a departure from the polished, curated images often shared on social media. I wanted to move away from the tendency to cultivate an online persona and focus on capturing real, unfiltered moments.

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As I progressed, I began to realize that these moments of disconnection pointed to a broader theme—one that speaks to a more profound detachment from society itself. Over time, my photography evolved to explore themes of introspection, existential reflection, and the quiet tension that exists within these private, disconnected moments. It became clear that the act of retreating into solitude often reflects a deeper questioning of one’s place in the world.

The choice to focus solely on women in this project stems from a desire to explore the experiences of a specific social group in moments of disconnection from the digital world. This allows for an exploration of personal growth and the varied aspects of self-actualization that occur within intimate spaces. By focusing on women, I also seek to engage in a broader conversation about feminine identity and the evolving role of women in society. This focus brings to light the complex emotions and experiences women encounter in their journey toward self-awareness and detachment from the social and digital realms.

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Can you describe a typical day when you're working on a photography project? How do you capture those subtle, everyday moments?

A typical day working on a photography project involves a mix of preparation, spontaneity, and collaboration. My process begins by finding the women who will be my subjects, often through social media or via recommendations from others. Once we agree on a day, I visit their homes, which is where most of the magic happens. I observe the space and start identifying potential settings where the action will unfold. However, the story or the “scene” is always a collaborative effort between myself and the subject. We usually begin with something very ordinary, a routine or habitual action that she does every day.

It’s crucial to emphasize the interaction between photographer and subject. During the shoot, things can evolve—unexpected moments might emerge that completely shift the focus of the image. For instance, she might simply reach for a glass of water, and if it spills, that accident can become a central part of the image. I always allow the subject to move freely within the space, as if I’m not there. That way, I can observe and capture authentic actions that resonate on a deeper level. Once we settle on a particular setting or moment, I fine-tune the scene, adjusting objects, lighting, and the overall composition.

What’s important for me in this process is the trust that develops between the photographer and the subject. They allow me into their personal space and trust me with their image. The scenarios we create together are often spontaneous and not rigidly planned—there’s a fluidity in our work that allows for genuine moments to be captured. Sometimes we end up with multiple images, or we may need to revisit the scene again. It’s always about staying open to the unpredictability of real life while keeping a strong connection with the subject.

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You mention revealing the "quiet existential anxiety" of women in their personal spaces. How do you approach and convey such deep emotions through your photography?

Conveying deep emotions such as existential anxiety or inner turmoil in my photography requires a careful blend of collaboration and intuitive guidance. When I work with my models, whom I often refer to as "protagonists," the process is less about simply taking a photograph and more about creating a scene where emotions can surface naturally. I explain the intended feeling behind each image and guide them in embodying that sentiment. This might involve invoking similar situations they’ve experienced, tapping into memories or emotions that resonate with the concept. I believe this process, akin to an appeal to pathos, helps awaken a genuine emotional response.

By describing emotions or situations that evoke anxiety, reflection, or a sense of isolation, I encourage them to feel rather than simply pose. The body language and facial expressions are crucial in communicating these subtleties, and I often direct how they position their bodies to create tension or vulnerability in the frame. This interplay between the external body and the internal emotional state is what brings depth to the image.

Furthermore, I take multiple shots to capture moments that feel most authentic and emotionally resonant. In the editing process, I focus on selecting the image where the protagonist’s expression and posture best encapsulate that quiet, almost imperceptible unease, ensuring the final result reflects both a personal and universal experience of existential reflection.

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What challenges do you face when trying to capture vulnerability and strength simultaneously in your subjects?

The greatest challenge I face is earning the trust of each woman who agrees to collaborate with me. This trust is essential, as it creates the foundation for everything that follows. Once that is established, I focus on creating scenarios that feel authentic yet relatable — something that either has already happened to the viewer or could likely happen in the future.

When it comes to vulnerability, I prefer the term "human fragility," which I believe is an inherent aspect of human existence. It is a quality that defines our humanity and is captured best through honesty. In my work, this means portraying real people in their personal spaces, engaging in everyday moments without any intent to impress, beautify, or dramatize.

As for strength, I believe it is something inherent in the art of photography itself, particularly in its realism. By that, I mean the decision to expose and reveal a part of oneself and one’s daily life in a way that is not typically shared, especially in public spaces or on social media. This alternative expression of self, the unfiltered and genuine side, requires a great deal of strength. This is why I have described my images as "anti-social-media" images in the past. My role as the photographer is to highlight and give visual form to the most authentic moments, allowing that balance of vulnerability and strength to emerge naturally through storytelling.

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How do you select your subjects, and what is the process like for them to feel comfortable in front of your camera?

Firstly, I believe everyone has the potential to be a subject in my photography. In my view, all people and spaces hold something unique, and the challenge is to find the right way to reveal it. My process begins with selecting the setting, the environment that will frame the photograph. After that, I start thinking about what might naturally take place within that space — the scenario, which is often open to discussion and evolves during the session.

As I’ve mentioned earlier, we often start with something familiar to the subject, like an everyday activity. For example, if I wasn’t there for a photo shoot, she might begin baking a cake. So, we might say, “Go ahead, start making the cake,” and during that process, we’ll capture a moment. A micro-moment, as I like to call it. (The worst-case scenario is that, even if the photo doesn’t work out, we’ll still have a cake — but that’s just a bit of humor on my part!)

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To clarify, my goal is not to document the act of baking but to capture the moment when that act is interrupted by something internal. Perhaps she pauses to reflect, or her mind drifts to a memory or a question, from the mundane to the existential. It’s these moments of contemplation or even a kind of quiet existential unrest that I aim to capture. This is where I believe the “subtle existential anxiety” of my work comes through.

This process and interaction allow the subject to move freely within her own space, without feeling forced to do something unnatural or unfamiliar. Essentially, the role she is playing is a version of herself, but in a moment of introspection or contemplation. This helps create an atmosphere of authenticity, which is key to making the subject feel comfortable in front of the camera.

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Your goal is to challenge social preconceptions and highlight the extraordinary in the ordinary. Can you share an example of a photograph that particularly achieved this goal?

I will refer to a photograph I took almost a year ago with Eleni. This photograph offers a glimpse into a moment of quiet introspection within the familiar environment of a home kitchen. The woman is standing on a chair, trying to change a lightbulb. Her nightgown and the soft, warm light from the lamp create an intimate atmosphere, drawing us into her personal world.

This everyday act is filled with symbolic meaning. The tension and unease captured in her face amplify the sense of internal struggle. Her reaching for the light embodies the search for clarity and understanding within the boundaries of daily life. The kitchen, often seen as the heart of the home, becomes the stage for her internal journey. Here, the ordinary, with its apparent simplicity and routine, transforms into the setting for an existential dialogue. The contrast between light and shadow reflects the dualities of existence — certainty and doubt, comfort and unease. Through this simple gesture, the photograph captures a deeper narrative of self-discovery and resilience. It invites viewers to look beyond the surface, to recognize the profound within the everyday, and to connect with the shared human experience of seeking light in moments of darkness.

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In this image, the woman is depicted in a moment of daily life, performing a seemingly insignificant task — changing a lightbulb. But this is where the photograph challenges societal preconceptions: traditionally, household chores have been associated with the “invisible” and the “mundane,” especially when it comes to women in the domestic space. This image takes that seemingly ordinary action and reframes it in a way that highlights the inner struggle and resilience of the protagonist.

The decision to focus on this particular moment breaks the perception that domestic life lacks depth or that simple moments hold no artistic value. It reveals the potential hidden within “ordinary” moments, reminding us that the most humble actions can carry great inner significance and strength. In a time when women are often expected to present themselves as “perfect” on social media, this photograph defies the notion of constant external presentation and emphasizes the authenticity and truth of the inner world.

Moreover, the fact that the woman is taking on such a task, changing the lightbulb by herself, reflects the strength of autonomy and the ability to handle situations that challenge her. She is not merely a “vulnerable” figure but a powerful one, taking action even in the context of everyday life. The photograph invites the viewer to question societal preconceptions about the role and presence of women in the domestic sphere, highlighting the complexity of human experience and the beauty within the ordinary.

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How has living in Athens influenced your work and perspective as a photographer?

I was born and raised in Preveza, a small town in northwestern Greece, and moved to Athens after high school for my studies. Since then, I have lived and worked here. While I haven’t lived in another urban center to directly compare, I believe Athens shares many of the characteristics typical of large cities and capitals worldwide. The fast-paced lifestyle, long distances, and constant movement create an increasing sense of tension and stress among residents. Combined with the scarcity of time, this results in social alienation and a decline in the quality of personal time people devote to nurturing themselves.

From a sociological perspective, this resonates with concepts such as Georg Simmel’s theory on the “blasé attitude” in urban life. Simmel argued that individuals in large cities develop a certain detachment from their surroundings as a defense mechanism against overstimulation. In a city like Athens, the constant bombardment of stimuli — from traffic to noise and the overwhelming number of interactions — can desensitize people to the subtleties of daily life. This detachment and loss of intimacy in human relations directly influence my work as a photographer.

In this social context, I believe there is an even more pressing need to highlight the problematic aspects of contemporary urban life. My photography seeks to capture the moments of quiet introspection and stillness that we often overlook in our rush through the day. It serves as a reminder of the fleeting, fragile beauty of these everyday moments, the very ones that urban life tends to push to the periphery. By focusing on the small, seemingly insignificant details — a glance, a gesture, a moment of stillness in a personal space — my photography attempts to reclaim the personal in an increasingly impersonal world.

Moreover, the need to distance oneself from the noise and chaos of the many, to take care of oneself, becomes all the more essential. Photography, in my case, becomes a way to slow down and reflect on those moments of inner life that urban living often pushes aside. I am drawn to capturing the interior world of my subjects — the quiet, contemplative moments where they retreat from the demands of the city and the rapid pace of life, where they reconnect with themselves. This tension between the fast-paced outer world and the slow, introspective inner world is something I try to convey in my work.

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What do you hope viewers take away from your photographs, especially regarding their own introspection and understanding of daily life?

Through my photography, I hope viewers not only see but feel the quiet, introspective moments I capture. My aim is for them to identify with the women in these images — to recognize themselves in the mundane, fleeting moments of daily life. Whether it’s a sense of boredom, anxiety, or contemplation, I want viewers to reflect on these emotions and, in turn, gain a deeper understanding of their own internal worlds.

On a broader level, I’m inspired by the idea that beauty and meaning can be found in the seemingly ordinary moments of life. As Henri Lefebvre’s exploration of “everyday life” suggests, these unnoticed, routine experiences often hold a deeper significance. By challenging societal norms that overlook such moments, my work invites viewers to rediscover the richness that lies within the simple and the mundane.

Ultimately, I hope my photographs offer viewers a space for reflection, allowing them to reconnect with themselves and rediscover the value of everyday life.

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What advice would you give to aspiring photographers who want to explore similar themes in their work?

For aspiring photographers, my first piece of advice is to find a theme or subject that you genuinely want to explore and communicate. Your work needs to say something. If you’re unclear about what you’re trying to express, that confusion will show in your images, making them feel disjointed or unclear. So, the first step is always to figure out the why behind your photography before moving on to the how.

From there, regardless of whether you’re photographing people, nature, or objects — whether your work is staged or candid — approach your subject with honesty. Authenticity will always resonate in your work.

And during those inevitable moments when inspiration seems to leave you, my advice is to keep going. Invest in time. Keep working, keep shooting, and the results will come. As a fellow photographer once told me, "What depends on time, time respects." This has always stayed with me, as it speaks to the importance of perseverance and patience in the creative process.