[image]
[title]Some cities ease into you, like a slow morning. Bangkok doesn’t bother. It arrives all at once – humid, glaring, full of movement you can’t quite trace. Steam from a streetside grill blurs into the squeal of a tuk-tuk, incense curls past your ear, and a monk scrolls his phone with the indifference of someone who’s seen it all. The city doesn’t wait. It presses in from every side.
Then, there’s Andrei Kostromskikh – better known on Instagram as Kosnio. His photographs seem less like compositions and more like accidents that knew exactly where to land. He walks the city with a camera and an eye for the nearly invisible – the things most people overlook, or choose not to see. His work doesn’t trade in landmarks or spectacle. His images aren’t postcards. They’re something quieter, more private. We find his work the way most people find anything these days – one of those algorithmic gifts the internet occasionally offers up. Naturally, we asked to share his photographs on our platform, and he generously agreed.
When we reach out, he replies with the same understatement that marks his photos. Bangkok, he says, feels strangely familiar – not in any cosy or sentimental way, but like a half-remembered dream. Now, we asked him some questions about his journey and how he sees the capital.
Would you describe yourself as a visual storyteller rather than simply a photographer?
‘Yeah, I think so. I just try to catch moments that speak for themselves. If that’s visual storytelling, I’m happy with it.’
Your project ‘Art of Everyday’ captures quiet, often overlooked moments – a worn-out chair, a sleeping street dog, a vendor deep in thought. What drew you to these small, almost silent stories, and how do you decide what’s worth photographing?
‘Most of the time, it’s automatic. After years of shooting, I notice compositions and small moments without thinking. It’s instinct. Those quiet scenes say a lot about a place – they draw people in. There’s beauty everywhere, if you’re paying attention.”
I want people to feel like they’re there, finding their own way in. Sometimes the frame suggests a story that isn’t really there – that’s where it stops being documentation and starts becoming something else.
Bangkok is a city of visual contrasts – chaos and calm, sacred and profane. How did your outsider’s eye evolve as you spent more time here? What do you see now that you didn’t at first?
‘I wouldn’t say my view of Bangkok has changed much. But I did realise just how massive it is. I’ve always preferred the less-travelled paths – I was walking through quiet neighbourhoods from the start. Funny enough, I didn’t see the Grand Palace until a year in.’
Many of your images evoke a strong sense of stillness, even in movement. How do you achieve that atmosphere, both technically and emotionally?
‘I’m someone who enjoys calm moments, even though I prefer cities to nature. In places like Bangkok, stillness is rare, so I go out early when the city’s just waking up. I choose quieter neighbourhoods to find peaceful scenes. Using depth of field to separate subjects from their background also helps create a sense of isolation and calm in my photos.’
As a foreigner documenting Thai life, how do you navigate the balance between observation and intrusion? Has your perspective ever been challenged, or changed – by your subjects?
‘That’s the delicate part of street photography. I try to shoot so people don’t notice me, and usually they don’t. If someone does, I smile or pretend I’m shooting something behind them. They usually relax. But if I sense discomfort, I stop straight away. Over time, I’ve learned to instinctively know who’s okay to photograph and who isn’t. I always respect personal space and don’t cross that line without good reason.’
“I’d say Bangkok is unpredictable but full of charm. Loud and quiet at once, messy yet beautiful, a little chaotic but always real. It doesn’t try to impress. It just is.”
What was it about Bangkok that magnetised you in the first place? Was it a slow burn or love at first sight?
‘Bangkok was meant to be just a place to slow down for a couple of years and focus on work. I’d wanted to visit for ages but never planned to live here. Life had other plans, and now I’ve been here two years. I was drawn to the city through photographers’ work long before arriving, and it actually exceeded my expectations. In those first days, I was stunned by the contrasts and the sheer scale of it all.’
Looking back at your work, do you have a favourite image – or perhaps one that feels like your most iconic portrait of Thailand?
‘It’s really hard to pick just one photo. Over the past two years, I’ve captured many moments that interest me in different ways. One I like shows a worker trimming trees with the Grand Palace behind him – a perfect mix of a beautiful location and an ordinary person’s story. Those are my favourite shots. When I was shooting in Europe, I loved capturing everyday life against stunning architecture too.’
‘Another favourite is a photo of a woman standing outside a 7-Eleven in heavy rain. Taken from above, the angle and the rainy atmosphere make it feel really immersive.’
“On my first day in Bangkok, after a light rain, a full rainbow appeared over the skyline with beautiful clouds and light behind it. It was one of my first photos in Thailand.”
How would you describe your photographic style to someone who’s never seen your work – is there a phrase, feeling, or visual metaphor that sums it up?
‘For me, it’s about capturing what’s already there but often goes unnoticed. Like watching a city breathe. The best way is to look at the photos and feel what they mean to you. That’s the beauty of art – everyone sees something different.’
You’ve collaborated with @brolga, an artist with a very different visual language. How did that partnership come about, and what did you learn from working together?
'He reached out to collaborate on a few pieces. I’d seen his work before and really liked his style, so I said yes straight away. Experimenting pushes my own work in new directions. The mix of photography and 2D art looks fascinating, and I was glad to see his illustrations layered over my shots of Bangkok.'
