Sometimes I’m drawn to something in the environment, a shape, a rhythm, a shadow, and I take the photo without fully understanding why. There’s a connection, a pull, something intuitive that speaks to me visually. Later, during the editing process, I often discover the meaning. That’s when the concept behind the image becomes clear, and I begin to shape it through light, tone, or structure. This is the intuitive side of my creative process, and it’s essential to my way of seeing.
Other times, a concept comes first. These are the images that require intention and preparation. I imagine the shot in my head, and then work to capture it through the right photographic approach. “Rhythms,” taken in the Basel train station, is an example of this kind of planned photography. I envisioned the contrast between people moving and others standing still. I needed long exposure, multiple tests, and precise control. It was a visual idea that had to be executed with care, both technically and artistically.
This gallery brings together both sides of how I practice conceptual photography. Some images arise through instinct and later reveal their message. Others are carefully constructed to express a specific idea from the start. Both paths shape the way I see and work, and both contribute to how my artistic vision continues to evolve. I don’t limit myself to one way of creating. I let each photo reveal how it wants to exist.
The editing phase is often where concept and image begin to align. I may exaggerate contrasts, isolate details, reshape colors or structure, not for aesthetic reasons alone, but to let the meaning become visible. In this kind of visual storytelling, the image is not just the endpoint. It’s part of a broader creative process where interpretation, emotion, and technique intersect.
There’s no single photographic approach here. These works reflect a mix of intuitive photography and planned execution. They come from different states of awareness, sometimes visual impressions, sometimes structured thoughts. And while their visual styles vary, they are unified by an attempt to externalize something interior. That can be a feeling, a tension, or even a contradiction.
This space reflects that dual nature. Whether surprising or deliberate, intuitive or designed, each image holds its own way of arriving. Conceptual photography, for me, is not about following a system. It’s about responding to what moves me, and allowing that response to become visible. Sometimes that means control. Sometimes it means trust. Either way, it’s a process worth following and sharing.
