by Editor Michel Romaggi  in collaboration with the author Vasfiye Budak
Edited and published by Yvette Depaepe, the 15th of April 2026

‘Dua…’

Could you explain how you created the photograph entitled Dua?

The original photo was taken in Kathmandu, Nepal, in the subject's natural environment. No artificial light was used. The first square was clear and documentary in nature, but the atmosphere was created during the editing process.

Original image

Equipment used: Fujifilm X-T2 with Fujinon 18-135 mm lens. I preferred a zoom lens so that I could frame without physically interfering with the scene. For this project, I aimed to transform a documentary image into a spiritual and atmospheric visual narrative.

Here are the realization steps below in a more technical and detailed way:

The image has been slightly cropped to draw the viewer’s eye directly towards the centre.

In Camera Raw, the exposure has been lowered slightly to create a softer atmosphere.

In Photoshop, the micro-contrast has been reduced. The tone transitions have been made more fluid to transform the hard documentary gaze into a more artistic style.

Then, to the copied image, a Gaussian blur was applied in soft light mode.  

This creates a slightly hazy, timeless effect.
To create a spiritual atmosphere in the real space, light scattering was applied around the centre using a soft brush with low opacity.

The background was softened again.

Depth was created by protecting the foreground figures.

To draw the viewer's gaze to the centre, the area around the central flame was made warmer using Color Balance.

Yellow and red tones were slightly increased and a very light blue tone/cold was added to the edges. The transitions were softened using a mask.

An Orton light effect has been applied.

A light blur was applied to a copied image.

This step reinforced the propagation of light and its pictorial character.

To blur the distinction between photography and painting, a light, low-opacity texture was added.

This was kept at a level that would sustain the general atmosphere only.

Finally, a light vignette was added with minimal lighting in the centre. No additional sharpness was applied and the overall contrast was kept low.

Your practice evolved from producing very realistic photos to creating images reminiscent of Impressionist paintings. Could you tell us what led you to this change?

This transformation was more about inner orientation than technical decisions. I realised that clarity is not always truthful. Sometimes, softening, light diffusion and controlled uncertainty convey the spirit of the scene more effectively.

My interest in painting and history has shifted my work towards a more atmospheric and pictorial style. Rather than documenting the scene, my goal is to create an atmosphere in which the viewer can immerse themselves.

‘Baz hayatlar…’

How do you select your subjects? Judging by your recent titles, you seem to have made some key choices.

When choosing my subjects, I consider three basic criteria: the light, the spirit of the place and the emotional intensity. Ritual, work, human elements and atmosphere are predominant in my recent works.

‘Yol benim…’

To conclude this brief yet informative conversation, could you please introduce yourself and tell us about your photography practice?

I was born in 1976 in the village of Samanlı, near Bursa, into a family of farmers. I come from a background in production and manual labour. It was about twenty years ago, with the birth of my two children, that I developed a conscious interest in photography.

My early work was more documentary and realistic. I focused on conveying what I saw clearly and accurately. Over time, I realised that photography was not only a form of documentation, but also a means of interpretation and expression of emotion. Nowadays, light, atmosphere and emotional intensity are at the forefront of my work.

‘Yol benim…’