In the latest and final Inspired Eye Magazine, my article “The Kashgar Project” documents the raw and vibrant energy of the centuries-old Sunday livestock market in Xinjiang, China.

The images highlight the enduring Silk Road traditions of the Uyghur people as they trade sheep, cattle, and horses. I photographed the sensory-rich environment of dust, noise, and intense “handshake” bargaining as a perfectly choreographed ancient ritual.

Ultimately, the project serves as a vital record of a universal way of life and a fundamental connection to the land that remains under threat from modernity.

Website: theinspiredeye.net

Please tell us something about you, your life and interests, etc. Put as much detail as you like and then we will start the questions.

My journey into the world of photography began in the 1990s. Although my formal education is in engineering, having graduated from the Bale Institute of Technology, my true calling has always been found through the lens of a camera.

I consider myself a lifelong student of the craft. I’ve built my career not through traditional art school, but through a relentless pursuit of excellence: attending specialized workshops, traveling to the world’s furthest corners, and immersing myself in the study of the master photographers.

In April 2025, I officially retired from my professional career in engineering. This milestone has opened the door for me to fully commit my energy to what I love most: travel, events, and the art of photography.

To date, I have explored nearly 70 countries, yet I feel my journey is only just beginning. I am driven by a quest for the “unseen”—seeking out remote landscapes and diverse cultures that fundamentally challenge my worldview and keep me humble.

I have traveled deep into the hearts of South Sudan, Pakistan, China, and Ethiopia.

What inspired you to become a photographer?

My passion for photography was sparked in the 1990s and has since been fueled by my relentless pursuit of discovering new cultures and remote landscapes that challenge my worldview. I have further honed this inspiration by studying the works of master photographers and immersing myself in the diverse environments of many countries.

What age are you and at what age did you start your journey as a photographer?

Born in 1965, I am currently 60 years old and began my journey as a photographer around the year 2000 at the age of 35. This path has allowed me to transition from my engineering background to a dedicated pursuit of capturing remote cultures and landscapes.

What is your project about? What inspired you to start this project?

The “Kashgar Project” is a documentary photography series that captures the raw, vibrant energy of the centuries-old Sunday livestock market in Xinjiang, China.

Through my lens, the project highlights
the enduring Silk Road traditions of the Uyghur people as they gather to trade sheep, cattle, and horses in a bustling, sensory-rich environment.

Is it an ongoing project or complete? When will you know when you are “done”?

My fascination with herders and animals isn’t just about a single location; it’s about a universal way of life. Whether it’s the eagle hunters in Mongolia, the sheepherders of the east, or the pastoralists in Ethiopia, I am continuously seeking out these communities because they represent a fundamental connection to the land and ancient traditions that are increasingly under threat by modernity.

In a literal sense, I am never truly “done.” As long as I can travel to remote landscapes and find cultures that challenge my worldview, I will continue this work.

What do you like / dislike about working on this project?

Reaching these remote herders can take days of grueling travel through areas with little to no infrastructure. The uncertainty of whether you will find the herders and farmers you are searching for
adds a layer of stress to the project.

Can you share the story behind one of your favorite photos from this project?

One of my favorite images from the “Kashgar’s Livestock Market” project is undoubtedly the shot of the bull jumping out of the truck.

To me, that photo captures the raw, chaotic energy that defines the Sunday market in Xinjiang. I remember standing amidst the swirling dust, the smell of livestock, and the intense bartering of the Uyghur farmers.

This specific moment happened in a flash—as a truck arrived to unload, one bull decided it couldn’t wait for the ramp. It leaped into the air, suspended for a second above the dusty ground, perfectly framing the physical power and unpredictability of the scene.

Can you describe some of the challenges you faced while working on this project and how you overcame them?

The market is a whirlwind of activity. Between the shouting of the traders, the bleating of sheep, and the sheer volume of people, it’s easy to feel overwhelmed. Being in the right place for a shot without getting trampled or interfering with the trade. My favorite image, the bull jumping out of the truck, is a perfect example of this. It was a split-second moment of raw energy.

Can you describe a few moments or triggers that made you stop and capture a particular shot?

“For me, the ‘trigger’ to press the shutter is usually a combination of raw energy and a moment that feels suspended in time. A perfect example of this happened during my time at the Kashgar Livestock Market in Xinjiang.The market is a sensory overload—the dust, the noise, the bartering.

But I found myself stopped in my tracks by the sheer chaos and power of the animal arrivals. My favorite shot from that series is the bull jumping out of the back of a truck.

Is there a question you want to answer that I haven’t asked?

“In a world that is becoming increasingly digital and sanitized, why is it vital to document a place as raw, dusty, and ‘chaotic’ as the Kashgar market?”

The answer is that the Kashgar Livestock Market—with its swirling dust, the smell of animals, and the intense “handshake” bargaining—represents one of the last true vestiges of the ancient Silk Road. To the outsider, it may look like chaos, but to me, it is a perfectly choreographed ancient ritual.

If you would like to make a closing statement, we’d love to hear what you have to say.

My philosophy has always been that “the eye makes the picture, not the camera.” Whether I am in the shipyards of Bangladesh or the markets of Xinjiang, I am looking for those quiet, inimitable moments where light and culture collide.

For me, photography is not just about a technical “perfect shot”—it is about capturing thoughts, visions, and feelings that challenge our worldview.