I started out taking photographs of people on the street to see if I could capture interesting moments, and that somehow grew into my testing how far I could pry into others' lives. I found that not letting my subjects see me gave a more powerful effect to the final image and raised more—or at least different—questions. The more removed I am as a photographer, the weirder, more voyeuristic, more sinister the images become.
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I began looking at unsecured security cam streams that are used by skiing centers, car parks, or highway officials. Every now and then, somebody's home would pop up. Then a hospital bed. And with uncomfortably regular frequency, children's cribs. I felt strange but weirdly empowered playing Rear Window, and that was a feeling I wanted to transfer to others.We all like to look at pictures of other people doing various things, whether it be the antics of drunk people or naked celebrities. When it's a normal guy eating breakfast, or a woman taking her dogs out for a walk, however, there's a nagging thought that says, Maybe I shouldn't be witnessing this. I think that's what makes these images interesting. In a strange way, I see this as street photography's morally questionable Little Brother.See more of Zachary Pointon's work here.