My motivation to photograph derives from my fascination with the power of light. It is intangible and cannot be touched, yet it has the ability to transform the material world, which we can sense through touch, into something we can also perceive through seeing. This phenomenon is a captivating miracle. Depending on the light and viewing conditions, the image of the world we see undergoes changes. However, what we see is also greatly influenced by our minds. We can perceive the world as something ordinary or functional that we are accustomed to dealing with, or we can attempt to see the world without its everyday meaning, perhaps like a child, as a pure visual impression. I find the most satisfaction in photography when I am in situations where I can relax, dream, meditate, and let go of the ordinary meaning of the world as perceived by my eyes. In those moments, I am able to recognize only the shapes, structures, and patterns that the material world reflects to my eyes through light. Framing the view with the camera is guided by intuition, which, of course, is based on a certain aesthetic background that cannot be denied. Ideally, I want to discover and showcase unusual, possibly surprising, and beautiful images or aspects of the world, even in completely mundane objects. This goal is challenging to achieve, but I strive for it.

My aforementioned objective of extracting the abstract qualities of our environment is perhaps easiest to accomplish in a natural setting. Nature excels in creating patterns and structures that hold no direct utilitarian meaning for us. That is why I have always been drawn to rocks, sand, and wood, as they exhibit a multitude of natural shapes and patterns.

My way of thinking and seeing is perhaps related to and has been influenced by renowned photographers like Brett Weston or Minor White. Additionally, the ingenious manner in which Arnold Newman incorporated the environment in his portraits through the juxtaposition or repetition of shapes has left a profound impression on me.

In addition to these photographic aspects, I am also fascinated by the technical process of capturing photons and recording images, whether it be through chemical or electronic means. Particularly, digital imaging provides an incredible freedom to interpret the raw image, following the philosophy of Ansel Adams, and transform it into the desired result. Ultimately, for me, this culminates in the printed image, along with the tactile experience of the paper medium.