Introduce yourself and tell us how photography came into your life. Where did the journey begin?
Hello, my name is Nikos Papadopoulos, and I am an amateur photographer living in Athens, Greece. I started this wonderful journey more than 10 years ago, around 2010, when I started attending a photo school run by a well-known photographer from Greece, Tasos Schizas. Since then, with some breaks, I tried to learn more about photography, take as many photos as I could and keep evolving.
How would you describe your photographic style today, and how has it changed over the years?
At the beginning of my journey, I took photos of anything I found interesting without any focus. Nowadays, I focus my energy mainly on street photography, since I found that this type of photography excites me more than anything else.
Which photographers have shaped the way you see, and what exactly did you take from them?
Tasos Schizas, of course, who, as I mentioned, was my first teacher, taught me the basis of what I know today. My current teacher, Andreas Kamoutsis, taught me many different concepts and techniques about street photography that I didn’t know much about. If I could keep two of the things he taught me, one would be what he calls “metamorphosis”: not to reveal everything to whoever sees my photo and mainly have fun with photography.
If someone could see only one of your photographs, which would you choose to represent your work — and why that one?
It would be the “Triplet”, because it shows that some luck, patience and good framing, makes a wonderful photo.
Which area of photography best describes your work?
Street Photography.
What first pulled you towards street photography, and what keeps taking you back out?
I honestly don’t know what pulled me into street photography, but what keeps me photographing in the streets, even today, is the fact that street photography allows you to capture many interesting and beautiful moments from people interacting with each other. It permits you to meet many interesting people, and you can walk the same path every day and still capture something different.
What catches your eye when you’re walking through a city with a camera?
Anything peculiar, a funny interaction between two people, some interesting juxtaposition.
How do you photograph strangers — how do you become part of a scene rather than an intruder in it?
I have to admit that generally I try to take photos without people noticing me. People here are generally afraid of unknown people taking their photos, but I try to be more courageous to interact with them in order to take photos.
What makes a street photograph last, long after the moment itself has gone?
I think if it captures an interesting moment or interaction between two or more people in a way that stands out from the rest of the photos we have seen.
What camera and lenses are at the heart of your kit right now, and what makes them right for the way you work?
The original X100. I keep coming back to the X100 series, having bought in the past many iterations of this series. It’s perfect for street photography because it’s pretty small and discreet, silent, the external controls permit you to see anytime what shutter speed and diaphragm you have, and the retro look of this camera isn’t threatening to most people, it reminds them of old cameras. And the photos it takes even today, 16 years after its release, are amazing.
Which Film Simulation, colour profile or custom camera settings do you keep coming back to, and why do they suit the way you see?
I mainly use Provia or Monochrome with a red filter profile, but I only shoot in RAW.
What keeps you working with the Fuji X system, and what would you miss most if you switched away from it?
The fun and the fun.
Walk us through your editing workflow — which software do you use, and how much of the final image is made after the shutter closes?
I use Capture One. I don’t edit the photo heavily, only minor changes in highlights, shadows, and contrast and correcting the white balance if needed.
What are you usually trying to achieve in post-processing — and what do you deliberately leave untouched?
I try first to enhance the photo, or to try to invoke a certain emotion depending on the subject, of course.
If you could leave a single piece of photographic wisdom for someone picking up a camera today, what would it be?
Choose a camera that makes you want to take her with you, and never leave it behind.
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