ANGLES
“I am very conscious that I possess a very powerful tool, which can
have a huge impact regarding issues around the built environment.”
What were some of your biggest doubts when you made
this career move?
Despite having switched over two years ago, I still consider
myself in transition. I still have plenty of doubts but they are
more focused now. At the beginning, I didn’t know the basics
related to the profession itself such as copyright, usage, finances,
and technical issues, but also about style, influences and approach.
Now, I am very conscious that I possess a very powerful
tool, which can have a huge impact regarding issues around the
built environment. My doubts transformed into questions and
are now focused on the visual outcome, on the stories around
the architecture I want to tell, and the long-term photography
projects I want to build.
A career as a photographer can be a challenging path,
especially given the solitary nature of the work. What
gives you the motivation to continue along this path?
As with architecture, I believe that being a photographer is a
profession that has to melt with your life. In my case, it became
a way of living and part of the motivation is that fraction of
a second which drives you to click the shutter. Capturing the
subject or not is secondary. No matter how long you plan
and prepare for it, you will always be surprised and discover
something new. Without fail, something will inspire you or, on
the contrary, will mess everything up. Stepping back, it’s about
this collection of captured moments, which can tell a story about
the built environment in all its layers.
Given that more people than ever are taking and sharing
photos of architecture—both non-professionals and
professionals alike—what is your particular approach to
architectural photography?
I would say that I have a journalistic approach, with
architecture as a backdrop, and the main subject being the
stories around it. In order to capture all these very unique and
sincere moments, I try to be as invisible as possible—this is one
reason why I rarely use a tripod—which allows me to be very
alert and dynamic. I mostly focus on public spaces where there
is always something happening and, thus, I can be spontaneous
and responsive to what’s going on.
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