Being There – Everyday Presences Passing Through

I’ve been working on this series over the past couple of years, mostly photographing in urban environments — with occasional moments along the coast — observing how people inhabit space in their everyday routines.

This series looks at human presence in its most ordinary state: not the event, but the interval; not the central action, but what happens around it.

The photographs were taken across streets, squares, porticos, and beaches, observing people as they occupy space without any intention to be seen. Sitting, waiting, passing through, resting — small, almost unnoticed actions that reveal how we exist in public space when nothing in particular is happening.

I am not interested in decisive moments or dramatic gestures. Instead, I look for pauses — those in-between situations where time seems to stretch and slow down. People are physically present, yet often somewhere else in their attention. The body remains; the mind drifts.

Working in black and white helps reduce the scene to its essential elements: light, structure, and gesture. The environment becomes less descriptive and more of a stage — a quiet container where bodies position themselves, whether for a brief moment or a longer pause.

There is no hierarchy here, no main subject in the traditional sense. Each photograph is simply an encounter: someone is there, I am there, and for a brief instant, our presence overlaps. Most of the time, these moments pass without being noticed.

“Being There” is not about explaining or constructing a narrative. It is about noticing — about the simple fact of being physically present in a place, sharing time and space with others, even if only temporarily.

From a technical point of view, I work with a Sony a6500, a mirrorless camera that allows me to keep a balance between compactness and flexibility thanks to interchangeable lenses. This is particularly important for me, as I often combine photography with demanding hiking, where weight and portability make a real difference — especially in landscape contexts.

At the same time, the camera adapts naturally to my street photography approach. The tilting screen allows me to shoot from a lower position, often holding the camera close to my body or attached to my wrist, looking at the screen instead of the viewfinder. This helps me remain less intrusive, letting scenes unfold without interruption. When I do use the viewfinder, I appreciate its lateral position, which feels more discreet and doesn’t fully cover the face, allowing a more open interaction with the surroundings.

I prefer to stay physically close to the scene, which is why I mostly use a 18mm f/2.8 lens (equivalent to approximately 27mm on full frame). This focal length lets me remain within the space I am photographing, rather than observing it from a distance. In terms of settings, I usually work in aperture priority mode with auto ISO (100–3200) and a minimum shutter speed of 1/500s, allowing me to react quickly while maintaining consistency in changing light conditions.

You can see more of my work at ilghisle.myportfolio.com

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