Such aesthetics are usually ascribed to photographers of the Düsseldorf school – such as Andreas Gursky, Candida Höfer and Thomas Struth – whose presence has been felt very strongly over the last two decades. In Slovenia, this approach is most consistently employed by Cvetkovic through his large-format colour photography, which is, in terms of form, distinguished by the sharpness of detail of the subject as well as harmony of composition, light and colour.

Cvetkovic with his photographic documentary of spatial reality entitled En Face maintains a standard of rigorous objectivity in his depictions which brings added value to his photography. His work is strictly systematic, using framing procedure which invariably starts from the same focal point, thus as a rule, his works are symmetrical. Cvetkovic finds formal principles of composition of primary importance, be it through constructive or deconstructive logic. He is particularly interested in unveiling the symbolic meaning behind the buildings in relation to their urban history, whilst the selection of motifs reflects his preoccupation with issues of urban architecture.