Vulnerability

In my opinion, the value of a photograph has nothing to do with technical knowledge. Quality has nothing to do with beauty or exposure all the time, for me, sensitivity is a powerful medium that can evoke empathy and raw authentic emotion allowing us to experience humanity.

Getting my subjects to display vulnerability is a priceless gift that I very much cherish. This frame represents all of us, and it reminded me of how two presences can vibrate together through the air without saying one word.

Mod Crd - Nana

“Vulnerability is basically the unfiltered lens that defines the rawness of the human experience. ”

— JohnGuira

Patterns and Structure

Shooting structures like these can provide a sense of order, I personally like to let geometry dominate the frame whenever possible and think ahead on how best to use the contrast created between wide solid structures, skinny metal beams, and the spaces where there will be no bouncing light. Taking all these things into perspective will support the visual characteristics of a black-and-white composition.

Take advantage of our brain’s natural need to organize patterns and place things in order, while keeping that in mind, remember that leading lines are powerful compositional tools that can guide the viewer’s eye through an image. Guide your audience, but also make them wonder, and experiment with your environment.

Don’t worry about overexposing or underexposing, screw perfect exposure, with film, you have to be intentional, go for it, and push the film to do what it does best, a moody and dramatic feel.

Architectural Photography

Architectural Photography is the latest challenge I’ve faced in my career as a photographer. Definitely a quieter and more peaceful process, unlike fashion, or editorial projects where you have moving subjects and a crew to direct. These factors have made this style of photography special, as it allows me to reflect and understand the amazing energy and details of Architecture Design. Concentration and planning are essential, especially when you don’t like to crop, and rather use every single pixel the sensor has to offer to make the composition at the moment you take the shot, vs fabricating it post-editing.

My approach to a massive operation like this one is to simplify what I’m looking at, in order for my brain to process things easier.

I start by setting my camera in monochrome to avoid getting overwhelmed by the variety of existing bouncing light, and then I use the good old squinting technique which tends to pull out more visual contrast, by doing this I can:

• Expose better.

• Avoid getting distracted with the overall lighter and brighter parts of the composition.

• Deal better with mix tricky lighting.

• Identify the segment and parts of the visual space better.

In conclusion, by taking all these extras away, I feel that the structure is the only one that remains.

“New ideas often need old buildings”

— Jane Jacobs