By Editor Michel Romaggi in collaboration with the author Jurij Bizjak
Edited and published by Yvette Depaepe, the 13th of November 2024

'The life on the wall'

Can you tell me the circumstances under which you took this photo?
This photo was taken during a trip to Malaysia, in Penang, where my girlfriend and I were going to a tourist spot. Since we like to walk long distances, we decided to go on foot despite the late morning heat. The sun was still low enough to cast shadows at an angle, yet strong enough to create pronounced shadows. They stood out even more because the wall in the background was relatively light, a yellowish grey. I'm drawn to the interplay of light and shadow, so the scene immediately caught my eye. However, I felt it lacked a lively element to add a dynamic touch to the static duo of traffic sign and fire hydrant, turning the pair into a trio. This odd number is somehow more "photogenic" or compositionally pleasing.
So I asked my girlfriend to walk on the opposite side of the street, while my task was to capture her in stride in the last third of the frame and create the photograph.

Can you explain the various steps you take to achieve this result (equipment, settings, post-processing...)?
I've been working with a Sony A7 III camera for several years now, using Sigma lenses: 14-24 mm, 24-70 mm and 70-200 mm, all with an aperture of f/2.8. This particular photo was taken with the Sigma 24-70mm lens at a shutter speed of 1/250s and a focal length of 36mm. The only editing I did on this image was to convert it to black and white, make some basic contrast adjustments, and slightly increase the texture of the wall markings. I wanted to keep the photo as close to its original form as possible, so I avoided heavy editing. I edit using Photoshop and Nik Collection.

It looks like you capture small moments of everyday life on your travels. Could you explain this choice to us?
When travelling abroad, due to the dynamic nature of the days, I take my camera in the morning and keep an eye out for interesting scenes around me.
The streets are full of all kinds of subjects that often go unnoticed in the hustle and bustle of everyday life. But with a camera in hand, the view is narrowed to a specific part of the space and the mind is focused on an intense observation of the surroundings, which usually yields some results. Sometimes it takes patience for everything to come together, but the satisfaction is all the greater when it does.

'Follow me'

How do you choose these moments?
There is often a certain order to my photographs, which is one of the criteria I follow. I don't like scenes where objects or subjects overlap or the frame is chaotic; instead I prefer minimalism with fewer elements that form a structured composition. Accordingly, I try to find a clean, geometrically precise, perhaps architecturally interesting background and wait for something to happen. Sometimes a single passerby is enough, sometimes it's something more.How do you choose these moments?

'Human triangle'

There are black and white and colour photos, as well as edited and unedited photos. How do you decide how to process them?
The choice between colour and black and white is quite simple. I only keep the colour version if the colours add value and the photo would feel diminished without them. The purpose of black and white is to focus the viewer's attention on the subject or story, where a chaotic, colourful scene would disrupt that process. Both versions occasionally work well, making the final choice more difficult.
Nowadays, good photographs almost always require basic editing, and sometimes I delve into more complex edits that include double exposures, selective blurring, colour trails, etc. This approach helps me to explore and refine my distinctive style.

'Follow me'

Could you tell us about yourself and photography? Its place in your life.
Photography is a hobby for me, a way to get away from it all and at the same time exercise myself physically and mentally. The physical aspect comes mostly from looking for locations in the city. The mental element comes during the shooting process, when I think about composition, and later during processing, when I apply my knowledge to get as much as possible out of each photo. My photography outings at home are usually focused, meaning I go out with a clear mission to get some good shots.

'The little one'