The goal is that abstraction of an image (like a building or a similar subject) should take place when the film in the camera is being exposed to light. In other words, my work arises outside and in front of the subject and not by adjusting the image afterwards behind the computer.
As I like to call it, the image has te be "set free" from concrete matters.
I will wait with the exposure as long as necessary until the abstraction is exactly how I want it to be. There are some matters I am constantly battling with, such as perspective distortion, materiallity of the subject, sun, clouds, rain and airplane stripes.
Sometimes I have to accept that one of the buildings that I took as a subject and was already working on for some time, is suddenly demolished. So the search for images takes place in the area around me. Sometimes this means that I will endlessly reposition myself and my camera to get the perfect shot. This is often quite a physical effort.
The consequence of this way of working is that the process is a prolonged and complicated issue. Lately I photograph with a mid-format camera.
In the final phase the abstraction becomes monumental by the choice for large format (wall-filling) prints. What happens next is that the viewer will develop a physical connection with the work because of the size.