Why My Way of Working Proves I’m a Good Photographer
Yes, this might sound like a self-celebratory article, and maybe it is. But it comes from a place of awareness: awareness of the path I’ve taken, the choices I’ve made, and the direction I’m heading as a photographer. This isn’t about ego; it’s about understanding what has shaped my work and why it continues to work.
I often get questions about my gear, my choices, and why I work the way I do. The truth is, my approach isn’t about following trends or keeping up with technology. It’s about discipline, consistency, and vision. Here are five reasons why I believe my way of working speaks for my skills as a photographer. I follow the appraoch that LESS IS MORE. And I always self-analyze being the first critic of my work, re-starting again and again as a beginner. This makes my profession never boring, and myself always constantly hungry for new challenges, ready to put myself on the line. But there are facts to consider and I want to share them with you, because sometimes the dimension of a photographer is not clear if we don’t know how he works:
1. I shoot only in JPEG
Since 2013, I almost never shoot in RAW. The few times I tried, I didn’t find any real advantage. For me, JPEG is honest and direct. It forces me to get it right in-camera, to trust my instincts, and to avoid endless hours in front of a computer. If the photo doesn’t work as a JPEG, it simply doesn’t work. Add to this that I crop very few times, perhaps a little more in the case of commissioned portraits.
2. I use a fully mechanical film camera from 1961
One of my favorite tools is a purely mechanical camera, older than most of the people I photograph. With it, I often rely on hyperfocal focusing and a 50mm lens, much in the spirit of Henri Cartier-Bresson. No electronics, no automation: just me, the light, and the moment. That kind of constraint sharpens the eye and keeps the process authentic. I learn a lot thanks to this camera.
3. I shoot digital with cameras that are at least 10 years old
While many photographers chase the latest releases, I prefer working with digital cameras that most people would call obsolete. These tools might lack fancy features, but they are more than enough for me. What matters is not the megapixels or the specs: it’s the vision behind the lens. Limitations are gold for creativity.
4. Art directors of major international brands hire me
My approach has proven its value in the real world. I’ve been trusted by art directors working with important global brands. They don’t hire me because of my gear: they hire me for my eye, my reliability, and my way of telling stories through images. The thing I love of art directors is that they don’t think in terms of gear you use and not even how many followers you have, they decide to propose a work on assignment just because of your talent and they're confident you can do the job the brand is looking for. That's professionalism.
5. I don’t chase trends: I follow my own voice
Photography today is often full of gimmicks, tricks, and sensationalist approaches that might look fashionable but expire quickly. Photos born for the fast scroll down on instagram. My work doesn’t play that game. I stay true to the roots of reportage, the photography I grew up with. My street photography isn’t about spectacle; it’s about meaning, honesty, and a timeless way of seeing. And it is devoted to the place, the sense of community, the resilience, a kind of photography respectful of the place and its inhabitants.
Conclusions
In the end, being a good photographer isn’t about gear or trends. It’s about awareness, discipline, and how you see the world. My choices may seem unconventional, but they are deliberate. They remind me that photography is not about perfection: it’s about truth and meaning.
And before someone comes here to troll this post: I declared I am a good photographer, because I am. I didn’t say I am an excellent photographer, but I am working on this.
