Krzysztof Muskalski

In the competition, I presented 10 photographs in 10 different categories. Of course, each of them has its own story, and I will share the stories of three of them.

The photograph “Hair” was created in the studio during a session with model Phoebe Kamracka. It was a sensual/nude shoot. We spent several hours working on different poses and lighting setups. At the end of the session, I felt that one more sensual portrait was still missing.

After a few attempts, I decided to use a wig of thick, curly hair and a lighting arrangement that would help me find sensuality in the model’s eyes. Despite our fatigue at the end of the session, we managed to create a portrait that was ultimately awarded the Platinum Winner title.

The photograph “Chandelier” was taken during PhotoCamp 2025 in Transylvania, Romania. At the end of the camp, we were invited to visit the impressive Good Friday Church in Zalău. Besides its beautiful frescoes, the most striking feature of the church is undoubtedly the impressive chandelier hanging above the main part of the sanctuary. I spent quite some time thinking about how to capture its extraordinary character. The opportunity for a unique perspective came when we climbed up to the dome crowning the church. From there, I was drawn to the contrast between the geometry of the chairs and the blossoming crystal structure of the chandelier.

The photograph “The Way of Cross” was taken in an abandoned leprosarium in Tenerife. I visited the place shortly before sunset. At the end of the road leading through the deserted, ruined buildings stood the remains of a church structure. Above it rose a huge cross, whose shadow dominated the path running through the leprosarium. It created a remarkable symbolism of the Way of the Cross — not only as a religious event, but as a path of human suffering, exclusion, and spiritual trial experienced by people afflicted by leprosy.

Winning in different categories confirms for me that it is worth seeking inspiration in diverse themes, broadening one’s horizons, and looking for new challenges.

It is usually a great challenge. It is a certain compromise between a subjective and an objective choice. Sometimes technical and craft-related qualities are more important; at other times, subjective sensitivity tied to the atmosphere and emotions surrounding the creation of the photograph becomes decisive.

Undoubtedly, it was my fascination with the world and the desire to share the way I discover it. I am happy when I can convey my emotions, my artistic sensitivity, and arouse the same curiosity in those who view my photographs.

My favourite type of photography is travel photography — both in the literal and the metaphorical sense. My journey in photography is a journey through life. Along the way, I encounter places and people, history, the present, and the future; I encounter emotions and new horizons. In this way, I build my knowledge, imagination, and sensitivity.

My current favourite camera setup is the Olympus OM-D series, along with a wide range of lenses that give me the flexibility to work in many different areas of photography. I also enjoy using the camera’s creative modes and experimenting with long exposures.

I would like my work to open new paths of imagination for him and inspire him to take on new challenges, whether in exploring the world or in creating photographs.

When I take a photograph, I do not think in terms of whether it has the potential to win a competition. It is usually a momentary impulse, a sudden inspiration, a fascination with the instant. Only later, when selecting images for a competition, do I try to analyse their qualities and their competitive potential.

I like being surprised by the world around me — what inspires me is novelty. It may be new places I visit, or places I saw long ago that have changed over time. I also enjoy meeting models I do not know, because I can discover them and build a shared narrative with them.

The diversity of the world and of people. Their impact on my imagination.

Participating in photography competitions is highly motivating for artistic growth, for gaining technical experience, and for developing one’s own artistic sensitivity. One should not be discouraged by initial setbacks, but instead gradually build artistic potential.

Above all, I would encourage them to believe in themselves, to open up, and to share their emotions and sensitivity. They should not let themselves be shaped too strongly by the mass influence of social media — neither in terms of subject matter, photographic technique, nor the equipment they feel they must use. As the saying goes, the best camera is the one you have with you.

It is worth studying the photographs of the masters, especially the older ones, and listening to their words. My favourite master is Ansel Adams, whom I value not only for his photographs but also for his insights. One of his statements became the motto of my artistic path: We don't make a photograph just with a camera; we bring to the act of photography all the books we have read, the movies we have seen, the music we have heard, the people we have loved.

I try to ensure that it does not play a dominant role. I want the creative process to begin before the photograph is taken — what Ansel Adams described as previsualisation. In editing and post-production, I usually rely on basic adjustment tools.

I believe artificial intelligence will have a major, even dominant, influence on photography. In my view, AI should have a separate category in photography competitions. I can see AI as a useful tool for seeking inspiration, but I would not want to use it to alter photographs I have taken myself.

Something that surprises me!