Most of my projects begin long before I take a photograph.

I spend time walking. Sometimes for a few hours, sometimes over several days, and often by returning to the same place again and again. I need to become familiar with a landscape before I can photograph it. The first visit is rarely enough.

Many journeys begin on a motorbike. It allows me to reach a territory, but never to experience it. The last part is always on foot. Walking changes my pace, my attention and the way I notice small variations in light, weather and terrain.

I work with different cameras depending on the project: large-format, panoramic, medium format, 35 mm or digital. Each one asks for a different rhythm. A heavy camera encourages me to slow down. A panoramic camera changes the way I frame space. Film requires patience, from exposure to development. These are not limitations. They are part of the process.

The same approach continues in the studio and in virtual environments. I build simple situations rather than fixed scenarios. Models improvise instead of following choreography. In video games, I explore the world on foot, avoiding viewpoints that my own body could never reach. The method changes very little, even when the tools do.

I do not try to control every photograph. I return, I observe and I wait. Sometimes nothing happens. Sometimes an unexpected change in the weather, a gesture, a technical imperfection or a simple shift in attention becomes the photograph I had been looking for without knowing it.