In an age where digital manipulation and artificial intelligence often blur the line between reality and artifice, Mohamad Khatib’s analogue photography stands out. Born in Beirut and raised in Limassol, Khatib has devoted his career to capturing the essence of Cyprus, combining old photographic processes with modern themes.
“Analogue photography is the one I grew up with,” Khatib explains. “It always fascinated me how photography has this duality of having an artistic as well as a scientific aspect through physics and with analogue there’s the added chemical process involved.” This fascination with the tangible, physical nature of analogue photography drives much of Khatib’s work.
For him, the medium’s authenticity lies in its aesthetics and the physicality of the negative – a real object that attests to the existence of the image and, by extension, the reality it captures. “This is becoming more and more important in a world where we are bombarded with heavily edited images and nowadays with artificial intelligence by images that mimic photographs yet are purely a product of a digital process,” he adds.
Khatib’s commitment to analogue techniques not only reflects a preference for the tactile and genuine but also a more mindful approach to photography itself. “Film photography has a certain authenticity… and it allows for a more mindful approach to photography, one where the quality of the images we take supersedes quantity as each ‘click’ costs money,” he says. This careful consideration of each frame stands in stark contrast to the often excessive and disposable nature of digital photography.
One of Khatib’s most compelling pieces is Somebody’s Bedroom, the first photograph he ever exhibited. This haunting image is part of a project exploring abandoned villages on the island, delving into the tragic history of Cyprus and its ongoing partition. “That scene represents the broken dreams and human suffering from being uprooted from your home by the tides of history that you can’t control as an individual,” Khatib reflects. The image of an empty bedroom in an abandoned village serves as a stark reminder of the fragility of personal sanctuary and the universal vulnerability to forces beyond our control.
For Khatib, this work is not just a reflection on the past but a call to bridge divides. “I see it as my personal contribution to bring about positive change regarding the Cyprus problem, by trying to bridge the gap between the sides, by concentrating on what brings us closer, rather than on what differentiates us.”
This focus on unity and shared experience has led Khatib to explore themes of identity and tradition in his more recent work. Moving away from pure landscape photography, he has adopted a more social documentary style, turning his lens on the people of Cyprus. “I’ve become interested in the subject of Cypriot identity, as it’s something I’ve been faced with being of Lebanese descent and growing up on the island,” Khatib says.
This exploration has led him to capture images of Cyprus’ diverse inhabitants, seeking to understand what they share and how their identities contribute to the island’s evolving cultural landscape. “Who are the inhabitants of the island now and what do they all share? What is this Cyprus of the future that is now a work in progress?”
Khatib’s work also serves as a preservation of vanishing traditions. He has documented the historic industries of fishing and boat building, as well as shared cultural practices such as coffee culture and traditional barbershops. “These are industries that have witnessed some radical changes and deserve to have their stories told.” By capturing these aspects of Cypriot life, Khatib ensures that these traditions are not forgotten.
Collaboration is another key element for Khatib as he seeks to merge his vision with those of other artists. One of his most cherished collaborations is with fellow analogue photography enthusiast German Moiseev. Together, they founded L’Image Sol, a project aimed at reviving mid-19th to early 20th-century photographic techniques and bringing them to Cyprus.
Through photoshoots and seminars, Khatib and Moiseev offer people the chance to experience the magic of traditional darkroom techniques, which are now seeing a resurgence as people seek unique, tangible photographs that cannot be easily replicated digitally. “We have forgotten that photographs truly come to life when they are printed and were never meant to be seen on screens,” Khatib says.
Looking ahead, Khatib’s artistic journey is far from over. His future projects include collaborations with local musicians to create a multidisciplinary art installation, further expanding the intersection of culture, identity, and history.
Through his commitment to analogue photography, Mohamad Khatib not only preserves the past but also creates a dialogue about the present and future of Cyprus. His work captures the essence of an island in transition, bridging the gap between old and new, tradition and modernity.
