From the time reproduction was in its infancy period to today in which photographic production is so easy for everyone and all can carry the device in their pockets, it is possible to say that photography is a sophisticated medium for anyone to pursue their different needs.

Essentially, we follow those who see photography as a narrative device and use this device intimately in admiration and connection to their works. A documentary photographer to contact people from different geographies and display these via photographs is a different feeling; the feel of the moment a street photographer conveys is another, and personal feelings a conceptual photographer gives is yet another. All have their own special place.

Beril Gür's series is somewhat different. Photographs in the series are not completely withdrawn and isolated nor are they really from within street and life. Gür becomes an observer by photographing the movement, inactivity, people and other apartments she sees from her windows. This can very well be interpreted as relating with the environment without really getting in contact with it. On the one hand, she encounters different situations from other lives and incidents instantly, on the other, none of these encounters effect her directly. It is not even possible to describe it as watching a film. For these instantaneous impulses and the voices coming from outside are what constitutes these photographs. Not to mention, each of the windows opening into different stories.

It is also better to remember the one of the theories from photography, "Mirrors and Windows." Szarkowski argues that photographers in their practice either project what they see in other people like looking from a window or project themselves into their photographs like looking into a mirror. If this is the case, is it appropriate to relate the window metaphor with Beril Gür's work? For Gür is too detached to recount other people. The lives she is watching from afar are a reflection of the neighborhood she is living in. Likewise, they are indicators of where she positions herself, her belonging and her personal experiences. In this manner, maybe it is better we add some new term like "window with a mirror" to this theory. Windows that don't show inside when it is bright outside but lose their reflection when it is dark outside and the lights are on inside…

Gür explains her work as follows: "This series, which I call "from home" because its original name is too long, emerged at a time when I was thinking about photographer's practice. It was an experiment on taking photographs without walking and moving which I believe to be inherent to photography."