On being a photographer
Architectural photography as I conceive it is based on resolving a series of complex and elaborate decisions on framing, lighting and exposure that determinedly affect how an architectural project is represented and interpreted by those who look at my photographs.
The resolution of all these decisions is determined in turn by technical and aesthetic skills that have been developed as the accomplishment of many years of research and experience that have generated to my way of looking at architecture and photographing it a distinctive graphical plasticity and a particular use of color.
I rigorously apply the implementation of this knowledge and these style marks in images that I create to interpret and represent in the most persuasive manner the architecture projects I photograph: my goal is to create photographs that draw attention to themselves and that awake a vivid interest and curiosity about the projects the images represent.
I envisage my photographs, in short, as a support with which to communicate and effectively amplify the diffusion of architecture projects and as decisive means through which to multiply the growth opportunities the photographs generate.
Despite this, I increasingly receive requests from publishers, companies and institutions requesting my photographs for commercial, promotional and advertising usages claiming without exception to have no budget to pay for the copyright that remunerates the uses for which the images are required.
I have extensively worked with publications to whom I have given the reproduction rights of my photographs when the cause has been justified and I have supported it, but I can not stand and I by any means accept the heavy burden of the strangely creative reduction of others costs if this means that my rights as an author are denied.
Any visual creator supports himself as an author or as a professional if his copyright is questioned and systematically mutilated because then both his future growth and projection do inevitably disappear.