In Berlin I began noticing photo booths.

Not in a deliberate way, but as repeated interruptions in the city stations, shopping arcades, side streets. Once noticed, they became something I actively looked for.

I photographed them over the course of my stay.

The photo booth is a fixed system of image-making: a defined frame, a fixed duration, no editing, and no opportunity to repeat the moment. A small, controlled process that produces a single physical outcome.

In a landscape dominated by digital image production, this system feels notably constrained.

I became more interested in the booths themselves than in the images they produce.

They sit somewhere between machine and infrastructure. Installed across the city, they form a loose network of identical functions in different contexts. Some are clean and maintained, others visibly worn through use.

I started photographing them as encountered objects rather than subjects. Each one required attention to its placement, condition, light, and surroundings.

The camera became a way of registering a repeated system within the city not as a novelty, but as a persistent, functional device that still operates within an overwhelmingly digital visual culture.