I learned photography in a world where every frame mattered.
A world of film rolls, contact sheets, and endless hours in the magic of the darkroom. A world where photographs were not captured endlessly, but carefully considered before the shutter was released.
I still find myself drawn to the qualities that made analog photography so enduring. Intention, restraint, and a strong sense of narrative. While the tools have changed, the mindset remains the same and, to this day, continues to shape my work.
Although I work with digital cameras, my photographic mindset remains deeply analog. I am drawn to the discipline of selection, the value of restraint, and the belief that a photograph should do more than describe a space. It should always tell a story and, whenever possible, evoke a feeling.
The frames I use are inherited from the film formats that formed my visual language.
The discipline required when composing with a square medium format camera. The balanced proportions of the 6×4.5 format. The familiar rhythm of 35mm, which remains relevant to this day.
And one of my all time favourites! The panoramic expansiveness of the Fujifilm TX1 and Hasselblad XPan, whose cinematic 65:24 perspective feels particularly at home within the Cycladic landscape and seascape, where architecture and horizon become inseparable.
Each aspect ratio carries its own rhythm, its own way of organising space, guiding the eye, and ultimately shaping a narrative.
In post production, I subtly introduce film like grain not as an exercise in nostalgia, but as a way to restore texture, depth, and a sense of materiality often absent from clinically perfect digital imagery.
Texture, atmosphere, and even imperfection are often what make an image feel alive.
Another approach I often employ, particularly when my intention is to reveal the architectural thinking behind a project, is the complete removal of colour. Working in black and white strips away the visual noise of color and reduces the image to its fundamental elements.
Composition - Form - Light. The elements from which photography is ultimately made.
What remains is not less information, but greater clarity. A more direct connection to the structure, rhythm and character of a space.
Perhaps most importantly, I do not believe in producing hundreds of photographs simply because I can. The discipline of film taught me that every image should justify its existence. Each frame is carefully planned, thoughtfully composed, and intended to stand on its own, carrying its own narrative weight.
In an era of limitless capture and clinical digital perfection, my work remains deeply filmic. It values intention over abundance, atmosphere over spectacle, and storytelling over documentation.