Q. In today's era of editing and processing, your work with unprocessed images seems even more special. The studio's name itself is 'Rawwstudio'. What is the charm of unprocessed images that you, artist Lee Kuno, insist on?

Modern images are complex and colorful, but I feel they don't capture the essence. Of course, they have their own charm. I prefer the style of photos from Asia rather than Europe. More natural images, you could say. I think capturing photos in an unprocessed style makes it easier to approach their essence. It's appealing because it allows you to express what you want without twisting or bending it, and those viewing can find it in a straightforward manner.

Q. You capture people's naturalness so well. Everyone tends to be a bit awkward in front of a camera. Do you have your own method to evoke naturalness?

Since we're strangers to each other, I tend to talk a lot. Asking about their life, current work, everyday questions. Once we're a little calmer through various conversations, we continue with the shoot. It's like a mini-interview, just as we're doing now.

A great subject is more about nearby things,

captured naturally, than seeking out.

Q. Please introduce Lee Kuno's room, Knock Knock.

As you enter the room, the first thing you'll notice is a space for my dog, Lemon. We also display works by my ceramicist girlfriend. Further inside, there are tapes, LPs, and items from the darkroom reflecting an analog taste.

Through photography, I meet many fleeting acquaintances. While inspirational people and things are good, stable companions like Lemon, my girlfriend, have become significant parts of my life. You'll notice these things in the room.

Q. If there's a space or object you especially love, please introduce it.

I brought in the enlarger I use in the darkroom. You insert film and the enlarger projects light to expose it onto special paper, where the photosensitive material reacts. The processed paper is developed using another device. I placed film and paper together. It might seem challenging, but seeing the actual process of developing photos is fun.

Q. Do you have a photo you're particularly attached to? If there's a memorable story behind it, please share.

It's a photo included in the Knock Knock room. It was a most touching day for me recently. My dog Lemon couldn't swim. Despite being an active border collie, she was scared of water. We tried getting her into the sea without help, but she struggled. Then, while traveling to another stream, she suddenly swam. I captured a photo of her sitting by the water then.

Q. Capturing moments as a photographer seems crucial. When you spot something you want to capture, what's your go-to camera?

For work, I use a large camera, but casually I take many with a small one. I seem to use a 35mm automatic camera the most. Since I believe the essence is most important, what and how you shoot is secondary. If there's a fundamental reason, like capturing an outlet, any camera should suffice for capturing that intent.

I carry small cameras everywhere. I've missed shots because I lacked film or a camera. I keep them in the office, car, wherever I can easily reach.

Q. In your view, what's a great subject to photograph, or who?

It's likely what’s closest to you. To me, that's my dog, girlfriend, and family. Three years ago, I donated my liver to my mother. I turned that into a book titled <Unfinished Life>. Jokingly, I underwent liver donation just for the photos! (Haha) The book is split into black and white and color photos—the former taken before the liver transplant in the hospital, and the latter by my parents themselves post-surgery at home.

A great subject isn't about seeking, but letting nearby things naturally reveal themselves in photos.

Capturing the immutable fleeting moment is the greatest charm.

Q. Are you spontaneous in your photography?

I am. When something keeps catching my eye, I think, 'Capturing this might become an interesting story.' So, I constantly pay attention to many things. For instance, when I worked for a magazine called <Cracker>, seeing so many clothes made me first notice how people were dressed. This observation of daily life fuels my inspiration.

Q. Different from easily adjustable digital aspects now, film has an unchangeable nature once shot. Any particular reason for your love of film work?

Sure, film can now be edited with technology like Photoshop, but as you mentioned, capturing the unchangeable moment is its charm. The very act of capturing, seeing, and expressing in the moment is it. It's a different feel than digital's gloss; I prefer the flat texture processed once on paper.

People often think of the grainy feel of film, but if taken cleanly, it can feel more vivid than digital. Seeing film prints in person rather than online emphasizes this difference. Thus, I recommend viewing photos directly.

Interest in people has continued into collaborations

with artists and other projects.

Q. Has anyone significantly influenced your style?

While searching for the photographer of a beloved fashion brand, I stumbled upon a Japanese artist. His subject positioning and photo perspectives were unique. Early on, observing his work helped shape my sense.

The artist whose work resonated was Takashi Homma @seeing_itself. There's a portrait book of actress Mikako Ichikawa that captures a natural and raw aesthetic. It inspired me to pursue that direction in photography.

Q. You collaborate with many artists at your shop, TREELIKESWATER?

'Treelikeswater' @treelikeswater is a photo-related object shop in Euljiro. My girlfriend's ceramic pieces are available too. We make thin zines; they lack the prestige of photo books but are fun projects. We work with artists from various fields like singers, actors, and models. It's a joy to see the unique stories behind their non-professional photos.

Q. You seem interested not just in taking photos but in the photographers as well.

Photography began for me as a way to connect more with others. Growing up an only child, I cherished making friends. At one point, I had 1,300 contacts. I think this interest in people evolved into my collaborative efforts and zine projects.

My first place was a 150,000 KRW dorm where a camera left room only to lie down.

Q. Do you remember your first personal space?

Being from the countryside, I always wanted to move to Seoul. I loved clothes and would visit Dongdaemun's early market as a high schooler. Starting out, I lived in a 150,000 KRW dorm where placing a camera left just enough space to lie down. Later, I found a 10,000 KRW monthly room. Though it was a storage conversion with cement floors and traditional bathrooms, I loved it.

Q. What does home mean to you?

When I first came to Seoul and wasn't settled, home was just a passing place. But I've been in my current home for ten years. It now feels like a settled, comforting space. Lemon is calm at home, likely because she's attuned to me.

Q. You currently live with your pet Lemon. How would you feel about living in a shared space like Mangrove?

It would be nice if it served as both a studio and a living space, with all amenities at hand. As long as I could live with my pet, I’d be more than happy!

Q. Is there a memorable scene in mind from recent experiences?

Even after her liver transplant, my mother isn't well. I frequently call my parents, but auditory-only communication is limiting and regretful. Recently, I taught video calling to my parents, and it made me quite happy. My phone is now full of video call screenshots. Moments from conversations with my parents frequently come to mind.

Q. When do you feel most like yourself?

When I'm at home. I do most of my work at the computer desk. Even though my home is large, I’m not great with space use, perhaps due to past dorm living. Typically, homes have separate work and bed spaces, but I keep everything in one room. Home is where I feel most like myself.

Writing | Shin Damomi

Photography | Choi Moreh