Phil, what inspired you to embark on the "96 Hours in Biel/Bienne" project, and how did you approach it? I was invited to Biel/Bienne to spend 96 hours there. They gave me total freedom to capture whatever I felt was interesting. The idea was to just spend time in the city and photograph what I thought was interesting or inspiring. I didn’t have any set plans, no agenda. I just walked around, got lost on purpose, and let the city show me what I needed to see. I like that freedom to let the place speak to me. I think that’s when you find the best moments in photography.

During your time in Biel/Bienne, what types of moments and scenes stood out to you the most? It was the contrasts. There’s an industrial side, then there’s the lake and nature. There are people of all kinds, from kids jumping into the lake to the old streets and quiet places that hold their own charm. It was about the raw moments of the city. I wasn’t looking for something ‘perfect.’ It was the little moments — a person sitting at a bus stop, or the way the light hits a certain part of the city. It’s those things that I find interesting.

Can you walk us through your photographic process, from the moment you take a shot to selecting the final images? I shoot with a Leica, both digital and black-and-white film. I always try to be patient and wait for the right moment. I don’t shoot aimlessly. I focus on what feels right, and I trust my instincts when I take a photo. After shooting, I go through the images and pick the ones that tell a story, the ones that resonate with me. It’s all about narrowing down to those key moments that feel important, and making sure that they fit together to tell the right narrative. It’s about the feeling of the image, not just the subject.

What role did the photo lab play in bringing your vision to life, and why is that so important? The lab is crucial. When I select the final images, I want to ensure they’re printed exactly how I imagined them. The lab takes care of the editing, printing, and mounting, and they understand the feeling I want in my photos. It’s not just about printing an image. It’s about capturing the mood, the tones, the grain — all of that matters. I trust the lab to make sure that the final prints do justice to the original idea. Without that, the project doesn’t feel complete.

How did you envision the final exhibition of "96 Hours in Biel/Bienne," and what was the experience like when you saw your work on the wall? Seeing the final prints up on the wall was a real moment. It’s one thing to look at an image on a screen, but when you see it printed large, it takes on a new life. It’s so much more powerful. The exhibition allowed me to present the photos in a way that gave them space and context. People can get close, really look at the details. It was gratifying to see how the images translated to such a large format. It felt like the project came full circle, and it was rewarding to see others engage with it.

Phil, what do you think makes "96 Hours in Biel/Bienne" stand out as a photographic project? What makes this project stand out is that it’s not just about documenting the city. It’s about how you feel in that city. I wasn’t trying to make something ‘perfect’ or typical of a tourist’s view of Biel/Bienne. I wanted to show the real, raw moments that make up the feeling of the place. It’s about emotion — what I experienced in those 96 hours. The photos don’t just show the city; they show what it felt like to be there. That’s the essence of this project.