Photographer / videographer.
The starting point for this project was noticing a shift in how people travel. The train used to be, if not the first, definitely one of the most popular ways to get around, especially between Athens and the north of the country. Suddenly, though, people started turning to other options. I heard people say that intercity buses (the greek acronym for their network is: KTEL) are now “great” because they even have Wi-Fi, whereas in the past to take the bus was the worst form of transportation there was.
But more than that, we began to see fear. People are now hesitant to take the train. Even those of us who still use it feel it. Every time we pass through Tempi, every time the train sounds its horn –which now happens much more often– you can sense a strange atmosphere. People grow uneasy. They look outside, trying to understand what’s happening, asking questions.
I still use the train because I often work in the north. I’m currently shooting a documentary in Xanthi, so I have to travel via Thessaloniki. Flights aren’t always available or convenient. The train used to be the most flexible option. But now, every time I post that I’m travelling, friends and family message me: “Please be careful.” Most people are worried. And, to be honest, I don’t always have the money for flights or the stamina for long bus rides. So, the train still ends up being a kind of middle-ground solution.
When we started photographing people for this project, I realised that even they were alarmed when I told them I take the train. When I spoke with Smaro, for example, she said: “You’re basically risking your life. Are you sure about this?”.
The truth is, I move forward with a kind of instinct that says, “Well, it can’t happen again, how absurd would that be?” Not the most rational mindset, I know. What I can say is that there have been some small changes. Occasionally they offer snacks now, like a croissant, and there are many new staff members. You can tell something has shifted, whether it’s meaningful or just for appearances is another question.
From what I see, most people using the train today are either tourists, who may not fully grasp the scale of the tragedy, or people like me — those who can’t afford to fly or whose schedules don’t align with other options. Still, the fear is there. You can see it in people’s faces, along with a kind of quiet sadness every time we pass the site of the crash
We chose portrait photography as our main approach because we wanted to make this personal. These people are us: a cousin, a sibling, a colleague. It became clear that they could just as easily have been among those who died. That’s what unsettles me every time I speak with someone. Aris, for instance, could easily have been one of the victims. In a way, it feels like we’re the lucky ones — the ones who didn’t get on that train, who weren’t there at that moment. We’re survivors, in the simplest sense of the word.
We tried to photograph people in spaces where they feel comfortable, but also in places connected to how their travel choices have changed. For example, one shoot took place at a bus station, while I was photographed on the train itself, since I use it so often. Overall, we aimed for a documentary photography feel, so that each image carries a story with it.