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Images are meant to open up a conversation. For the first 15 years, I shot on 4x5 film, with complex lighting—hot lights and strobes; technically, they were very involved shoots. I still have that in my DNA and apply some of those techniques in my current work. But I’ve always had a strong sensitivity to street photography; some of my heroes are documentary and war photographers, people who are looking to capture the soul of the culture we live in. It was harder to bring these instincts into 4x5 film work. However, the use of medium-format digital—I use Arca-Swiss and Fuji GFX cameras with an assortment of esoteric German lenses and filters adapted from the cinema industry—has given me the freedom to be more exploratory and experimental in how I approach architecture with people. At the same time, there’s a new openness on the part of my clients, who more and more are willing to have me tell almost a social story through their buildings.<p>My compositions are extremely rigorous: no excessively wide angles, always very concise one-point perspectives, very sectional and elevational in composition, and then I break this rigor visually by mixing in the theater of people in the public space. It’s about setting the proper composition and then waiting for the natural ballet of people to enter the space at the decisive moment. Sometimes the shot is done in 30 seconds, and sometimes it takes 45 minutes. I want to capture people enthralled by the space, as well as the subtleties of the space itself. Why are people captivated? What is magical about this space? The result is a studied composition with an incredible natural looseness of people in the space. We’re lucky to be in an era where architecture is particularly interesting, aren’t we?
Photographer Name
I bring a mix of documentation with emotion to the assignment—I’m not as dry as some photographers, nor as glamorous as others. I have been photographing for Odile Decq for about eight years—we are a good team. I shot the Museum of Contemporary Art in Rome (2010) on spec, and she started using me. She knows I am reliable, dedicated, and I like being on a time schedule—it triggers my creativity. I’ve also been working with Jean Nouvel, who asked his client to hire me for the Louvre Abu Dhabi when it opened last year. For the last 15 years I’ve been shooting almost all Thom Mayne’s projects, and I have recently photographed Richard Meier’s newest work in Taipei, Bogotá, and Mexico City. I started getting a lot of work from Chilean architects through Alejandro Aravena in 2002. (It helps that I speak Spanish, along with English, Italian, French—and, of course, German.)<p> Travel to photograph newly completed buildings is hard in terms of timing: press conferences require photos when the building isn’t complete. I believe in using natural light instead of killing the atmosphere with flash lights—but balancing light is hard. So the pressure mounts if the weather is lousy, since I just have to stay at the site, while my family is home in Stuttgart. My architect clients—who pay me—don’t often have me return when the building is totally finished and installed. I use a large-format camera (ALPA, a Swiss camera) with very good lenses and a digital back. Basically, it is a similar way of working to the predigital era when I was using a 4x5 camera, correcting the perspective on-site, and shooting with film. Now you correct the perspective post-production with Photoshop. The digital age has resulted in photographers’ being faster, less accurate, less profound. We all react to striking, eye-catching photos, and lines are blurred between professionals and amateurs.
Photographer Name
I bring a mix of documentation with emotion to the assignment—I’m not as dry as some photographers, nor as glamorous as others. I have been photographing for Odile Decq for about eight years—we are a good team. I shot the Museum of Contemporary Art in Rome (2010) on spec, and she started using me. She knows I am reliable, dedicated, and I like being on a time schedule—it triggers my creativity. I’ve also been working with Jean Nouvel, who asked his client to hire me for the Louvre Abu Dhabi when it opened last year. For the last 15 years I’ve been shooting almost all Thom Mayne’s projects, and I have recently photographed Richard Meier’s newest work in Taipei, Bogotá, and Mexico City. I started getting a lot of work from Chilean architects through Alejandro Aravena in 2002. (It helps that I speak Spanish, along with English, Italian, French—and, of course, German.)<p> Travel to photograph newly completed buildings is hard in terms of timing: press conferences require photos when the building isn’t complete. I believe in using natural light instead of killing the atmosphere with flash lights—but balancing light is hard. So the pressure mounts if the weather is lousy, since I just have to stay at the site, while my family is home in Stuttgart. My architect clients—who pay me—don’t often have me return when the building is totally finished and installed. I use a large-format camera (ALPA, a Swiss camera) with very good lenses and a digital back. Basically, it is a similar way of working to the predigital era when I was using a 4x5 camera, correcting the perspective on-site, and shooting with film. Now you correct the perspective post-production with Photoshop. The digital age has resulted in photographers’ being faster, less accurate, less profound. We all react to striking, eye-catching photos, and lines are blurred between professionals and amateurs.
Photographer Name
I bring a mix of documentation with emotion to the assignment—I’m not as dry as some photographers, nor as glamorous as others. I have been photographing for Odile Decq for about eight years—we are a good team. I shot the Museum of Contemporary Art in Rome (2010) on spec, and she started using me. She knows I am reliable, dedicated, and I like being on a time schedule—it triggers my creativity. I’ve also been working with Jean Nouvel, who asked his client to hire me for the Louvre Abu Dhabi when it opened last year. For the last 15 years I’ve been shooting almost all Thom Mayne’s projects, and I have recently photographed Richard Meier’s newest work in Taipei, Bogotá, and Mexico City. I started getting a lot of work from Chilean architects through Alejandro Aravena in 2002. (It helps that I speak Spanish, along with English, Italian, French—and, of course, German.)<p> Travel to photograph newly completed buildings is hard in terms of timing: press conferences require photos when the building isn’t complete. I believe in using natural light instead of killing the atmosphere with flash lights—but balancing light is hard. So the pressure mounts if the weather is lousy, since I just have to stay at the site, while my family is home in Stuttgart. My architect clients—who pay me—don’t often have me return when the building is totally finished and installed. I use a large-format camera (ALPA, a Swiss camera) with very good lenses and a digital back. Basically, it is a similar way of working to the predigital era when I was using a 4x5 camera, correcting the perspective on-site, and shooting with film. Now you correct the perspective post-production with Photoshop. The digital age has resulted in photographers’ being faster, less accurate, less profound. We all react to striking, eye-catching photos, and lines are blurred between professionals and amateurs.
Photographer Name
I bring a mix of documentation with emotion to the assignment—I’m not as dry as some photographers, nor as glamorous as others. I have been photographing for Odile Decq for about eight years—we are a good team. I shot the Museum of Contemporary Art in Rome (2010) on spec, and she started using me. She knows I am reliable, dedicated, and I like being on a time schedule—it triggers my creativity. I’ve also been working with Jean Nouvel, who asked his client to hire me for the Louvre Abu Dhabi when it opened last year. For the last 15 years I’ve been shooting almost all Thom Mayne’s projects, and I have recently photographed Richard Meier’s newest work in Taipei, Bogotá, and Mexico City. I started getting a lot of work from Chilean architects through Alejandro Aravena in 2002. (It helps that I speak Spanish, along with English, Italian, French—and, of course, German.)<p> Travel to photograph newly completed buildings is hard in terms of timing: press conferences require photos when the building isn’t complete. I believe in using natural light instead of killing the atmosphere with flash lights—but balancing light is hard. So the pressure mounts if the weather is lousy, since I just have to stay at the site, while my family is home in Stuttgart. My architect clients—who pay me—don’t often have me return when the building is totally finished and installed. I use a large-format camera (ALPA, a Swiss camera) with very good lenses and a digital back. Basically, it is a similar way of working to the predigital era when I was using a 4x5 camera, correcting the perspective on-site, and shooting with film. Now you correct the perspective post-production with Photoshop. The digital age has resulted in photographers’ being faster, less accurate, less profound. We all react to striking, eye-catching photos, and lines are blurred between professionals and amateurs.
Photographer Name
I bring a mix of documentation with emotion to the assignment—I’m not as dry as some photographers, nor as glamorous as others. I have been photographing for Odile Decq for about eight years—we are a good team. I shot the Museum of Contemporary Art in Rome (2010) on spec, and she started using me. She knows I am reliable, dedicated, and I like being on a time schedule—it triggers my creativity. I’ve also been working with Jean Nouvel, who asked his client to hire me for the Louvre Abu Dhabi when it opened last year. For the last 15 years I’ve been shooting almost all Thom Mayne’s projects, and I have recently photographed Richard Meier’s newest work in Taipei, Bogotá, and Mexico City. I started getting a lot of work from Chilean architects through Alejandro Aravena in 2002. (It helps that I speak Spanish, along with English, Italian, French—and, of course, German.)<p> Travel to photograph newly completed buildings is hard in terms of timing: press conferences require photos when the building isn’t complete. I believe in using natural light instead of killing the atmosphere with flash lights—but balancing light is hard. So the pressure mounts if the weather is lousy, since I just have to stay at the site, while my family is home in Stuttgart. My architect clients—who pay me—don’t often have me return when the building is totally finished and installed. I use a large-format camera (ALPA, a Swiss camera) with very good lenses and a digital back. Basically, it is a similar way of working to the predigital era when I was using a 4x5 camera, correcting the perspective on-site, and shooting with film. Now you correct the perspective post-production with Photoshop. The digital age has resulted in photographers’ being faster, less accurate, less profound. We all react to striking, eye-catching photos, and lines are blurred between professionals and amateurs.
Photographer Name
I bring a mix of documentation with emotion to the assignment—I’m not as dry as some photographers, nor as glamorous as others. I have been photographing for Odile Decq for about eight years—we are a good team. I shot the Museum of Contemporary Art in Rome (2010) on spec, and she started using me. She knows I am reliable, dedicated, and I like being on a time schedule—it triggers my creativity. I’ve also been working with Jean Nouvel, who asked his client to hire me for the Louvre Abu Dhabi when it opened last year. For the last 15 years I’ve been shooting almost all Thom Mayne’s projects, and I have recently photographed Richard Meier’s newest work in Taipei, Bogotá, and Mexico City. I started getting a lot of work from Chilean architects through Alejandro Aravena in 2002. (It helps that I speak Spanish, along with English, Italian, French—and, of course, German.)<p> Travel to photograph newly completed buildings is hard in terms of timing: press conferences require photos when the building isn’t complete. I believe in using natural light instead of killing the atmosphere with flash lights—but balancing light is hard. So the pressure mounts if the weather is lousy, since I just have to stay at the site, while my family is home in Stuttgart. My architect clients—who pay me—don’t often have me return when the building is totally finished and installed. I use a large-format camera (ALPA, a Swiss camera) with very good lenses and a digital back. Basically, it is a similar way of working to the predigital era when I was using a 4x5 camera, correcting the perspective on-site, and shooting with film. Now you correct the perspective post-production with Photoshop. The digital age has resulted in photographers’ being faster, less accurate, less profound. We all react to striking, eye-catching photos, and lines are blurred between professionals and amateurs.
Photographer Name
I bring a mix of documentation with emotion to the assignment—I’m not as dry as some photographers, nor as glamorous as others. I have been photographing for Odile Decq for about eight years—we are a good team. I shot the Museum of Contemporary Art in Rome (2010) on spec, and she started using me. She knows I am reliable, dedicated, and I like being on a time schedule—it triggers my creativity. I’ve also been working with Jean Nouvel, who asked his client to hire me for the Louvre Abu Dhabi when it opened last year. For the last 15 years I’ve been shooting almost all Thom Mayne’s projects, and I have recently photographed Richard Meier’s newest work in Taipei, Bogotá, and Mexico City. I started getting a lot of work from Chilean architects through Alejandro Aravena in 2002. (It helps that I speak Spanish, along with English, Italian, French—and, of course, German.)<p> Travel to photograph newly completed buildings is hard in terms of timing: press conferences require photos when the building isn’t complete. I believe in using natural light instead of killing the atmosphere with flash lights—but balancing light is hard. So the pressure mounts if the weather is lousy, since I just have to stay at the site, while my family is home in Stuttgart. My architect clients—who pay me—don’t often have me return when the building is totally finished and installed. I use a large-format camera (ALPA, a Swiss camera) with very good lenses and a digital back. Basically, it is a similar way of working to the predigital era when I was using a 4x5 camera, correcting the perspective on-site, and shooting with film. Now you correct the perspective post-production with Photoshop. The digital age has resulted in photographers’ being faster, less accurate, less profound. We all react to striking, eye-catching photos, and lines are blurred between professionals and amateurs.
Photographer Name
I bring a mix of documentation with emotion to the assignment—I’m not as dry as some photographers, nor as glamorous as others. I have been photographing for Odile Decq for about eight years—we are a good team. I shot the Museum of Contemporary Art in Rome (2010) on spec, and she started using me. She knows I am reliable, dedicated, and I like being on a time schedule—it triggers my creativity. I’ve also been working with Jean Nouvel, who asked his client to hire me for the Louvre Abu Dhabi when it opened last year. For the last 15 years I’ve been shooting almost all Thom Mayne’s projects, and I have recently photographed Richard Meier’s newest work in Taipei, Bogotá, and Mexico City. I started getting a lot of work from Chilean architects through Alejandro Aravena in 2002. (It helps that I speak Spanish, along with English, Italian, French—and, of course, German.)<p> Travel to photograph newly completed buildings is hard in terms of timing: press conferences require photos when the building isn’t complete. I believe in using natural light instead of killing the atmosphere with flash lights—but balancing light is hard. So the pressure mounts if the weather is lousy, since I just have to stay at the site, while my family is home in Stuttgart. My architect clients—who pay me—don’t often have me return when the building is totally finished and installed. I use a large-format camera (ALPA, a Swiss camera) with very good lenses and a digital back. Basically, it is a similar way of working to the predigital era when I was using a 4x5 camera, correcting the perspective on-site, and shooting with film. Now you correct the perspective post-production with Photoshop. The digital age has resulted in photographers’ being faster, less accurate, less profound. We all react to striking, eye-catching photos, and lines are blurred between professionals and amateurs.
Photographer Name

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