{"id":344039,"date":"2026-01-15T09:00:09","date_gmt":"2026-01-15T09:00:09","guid":{"rendered":"https:\/\/www.fujifilm-x.com\/?post_type=story&p=344039"},"modified":"2026-01-15T09:00:16","modified_gmt":"2026-01-15T09:00:16","slug":"brick-by-brick-architectural-photography-with-nicanor-garcia","status":"publish","type":"story","link":"https:\/\/www.fujifilm-x.com\/da-dk\/stories\/brick-by-brick-architectural-photography-with-nicanor-garcia\/","title":{"rendered":"Brick by Brick: Architectural Photography with Nicanor Garc\u00eda"},"content":{"rendered":"\n

Nicanor Garc\u00eda discusses his transition from architect to photographer, establishing a style and building a following<\/h2>\n\n\n\n

Spanish photographer Nicanor Garc\u00eda explores cities and culture through his studies of the built environment. Originally an architect, he was introduced to the art of photography over the course of his professional training.<\/p>\n\n\n\n

\u201cWhen I started to study architecture, it quickly became necessary to use a camera,\u201d he recalls. \u201cSometimes it was impossible to finish a drawing onsite, so you would take a photo to finish it later.\u201d<\/p>\n\n\n\n

Often in his studies, a project might be to build a model. \u201cIt was impossible to hand in the model \u2013 so at the end, you would submit a photo of it.\u201d<\/p>\n\n\n\n

While largely used as a means to an end, photography had become part of everyday life for Nicanor, and he began to take a deeper interest.<\/p>\n\n\n\n

\u201cAt some point, I started to see that some photos were better than others, and I started to become interested in the photographers behind the architects,\u201d he explains. \u201cLittle by little, I got more involved in it and began to research photographic technique.<\/p>\n\n\n\n

\u201cThe precise compositions of Julius Shulman, the exceptional technical mastery of Ezra Stoller and the versatility and ability to connect with people of Francesc Catal\u00e0-Roca were among my earliest references and played a key role in shaping my visual approach.\u201d<\/p>\n\n\n\n

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Photo 2023 \u00a9 Nicanor Garc\u00eda | FUJIFILM X-H2 and FUJINON XF8-16mmF2.8 R LM WR, 1\/320 sec at F4.5, ISO 500<\/figcaption><\/figure>\n\n\n\n

On the job<\/h2>\n\n\n\n

On concluding his training, Nicanor began a successful career as an architect, going on to operate his own studio in Barcelona and design a variety of buildings. Throughout this period though, he continued to make photos for his work.<\/p>\n\n\n\n

\u201cWhen I started to work as an architect, I would visit the place where a building was going to be and take photos to understand that space,\u201d he explains. \u201cThen I\u2019d return to the studio and, if the photos were good, I wouldn\u2019t need to go back to the location every time I had a doubt.\u201d<\/p>\n\n\n\n

Another key aspect of photography in the architecture world is its value in cataloguing completed projects. \u201cWhen you finish the work, it\u2019s good to have a moment before the user goes into the building,\u201d Nicanor notes.<\/p>\n\n\n\n

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Photo 2023 \u00a9 Nicanor Garc\u00eda | FUJIFILM X-H2 and FUJINON XF70-300mmF4-5.6 R LM OIS WR, 1\/320 sec at F10, ISO 500<\/figcaption><\/figure>\n\n\n\n

For many architects, the period between a building\u2019s completion and it being handed to its owner is important to remember \u2013 a moment when the building is exactly as the designer intended.<\/p>\n\n\n\n

\u201cSometimes the building is used the way you imagined, but often it isn\u2019t, and the building gets transformed into something else,\u201d adds Nicanor. That\u2019s what makes this a key moment for photographing the building: \u201cTo remember what you made, before someone else takes control of it.<\/p>\n\n\n\n

\u201cI was hiring architectural photographers to do that. I\u2019d tell the photographers the locations in the building where there were options to make good photos.\u201d<\/p>\n\n\n\n

But when Spain underwent a construction crisis, Nicanor started to do this job himself. \u201cI had more free time so it was a bit ridiculous to hire somebody. I bought myself a camera and made photos of two of my buildings.<\/p>\n\n\n\n

\u201cAt that point, I realised I wanted to take greater control over how my own buildings were visually interpreted, applying the same critical eye I had always expected from commissioned photographers.\u201d<\/p>\n\n\n\n

\"\"
Photo 2023 \u00a9 Nicanor Garc\u00eda | FUJIFILM X-H2 and FUJINON XF16-55mmF2.8 R LM WR, 1\/5000 sec at F2.8, ISO 500<\/figcaption><\/figure>\n\n\n\n

Building a following<\/h2>\n\n\n\n

When an architecture magazine asked for photographs of one of his buildings, Nicanor sent over one from a commissioned photographer and one of his own photos. Due to a mix-up, the magazine staff thought that both images had come from the professional, leading Nicanor to a realisation \u2013 and a redoubled interest in image making.<\/p>\n\n\n\n

\u201cI started to think maybe I had developed some skills after all this time around photography,\u201d he notes. \u201cLittle by little, I started to take photos of other genres.<\/p>\n\n\n\n

\u201cThat moment made me realise that my images already sat comfortably alongside those of established architectural photographers, encouraging me to pursue photography in a more conscious and deliberate way.<\/p>\n\n\n\n

\u201cI made an Instagram account, and it started to grow quite quickly. I was mostly doing photos of urban architecture \u2013 fa\u00e7ades and details \u2013 not necessarily architectural photography, but photos of architecture.\u201d<\/p>\n\n\n\n

\"\"
Photo 2023 \u00a9 Nicanor Garc\u00eda | FUJIFILM X-H2 and FUJINON XF8-16mmF2.8 R LM WR, 1\/5000 sec at F3.6, ISO 500<\/figcaption><\/figure>\n\n\n\n

As his following grew, Nicanor began to explore new locations with his photography, blending travel elements with his architectural focus. \u201cAt times I was doing work for some architect friends, but at other times, I was travelling and taking photos of architecture around the world.\u201d<\/p>\n\n\n\n

While working for architects provided ample opportunities to sharpen his skills, Nicanor knew from experience which aspect of his photography he would prefer to develop. \u201cI never wanted to be a photographer only for architects, because I know them well and they\u2019re very picky,\u201d he asserts. \u201cI was picky.\u201d<\/p>\n\n\n\n

\"\"
Photo 2019 \u00a9 Nicanor Garc\u00eda | FUJIFILM X-H1 and FUJINON XF8-16mmF2.8 R LM WR, 1\/250 sec at F3.6, ISO 200<\/figcaption><\/figure>\n\n\n\n

Nicanor\u2019s photography equipment<\/h2>\n\n\n\n

Over the course of his photographic career, Nicanor has tried a variety of camera and lens brands \u2013 though his kit selection remained stationary in one respect. \u201cThe set-up I reproduced with every camera brand was always a wide-angle, a standard lens and a telezoom,\u201d he explains.<\/p>\n\n\n\n

For a time, Nicanor used a full-frame camera, seeking the benefits of a larger-format system. However, there were drawbacks: \u201cThe camera and the lenses were quite heavy, and when I started to do trips, it was exhausting,\u201d he recalls. \u201cIf you\u2019re starting early in the morning, it\u2019s difficult to continue all through the day.\u201d<\/p>\n\n\n\n

When mirrorless cameras came onto the market, Nicanor found himself using the lightweight FUJIFILM X-T1, later rebuilding his lens collection to suit his new companion.<\/p>\n\n\n\n

\u201cI also got the\u00a0FUJINON XF10-24mmF4 R OIS WR<\/a>, the FUJINON XF18-55mmF2.8-4 R LM OIS and the\u00a0FUJINON XF55-200mmF3.5-4.8 R LM OIS<\/a>. I was able to reproduce my favourite set-up with Fujifilm. But in the same kit bag, I could have five lenses \u2013 compared to the three I was using with the previous camera.<\/p>\n\n\n\n

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Photo 2023 \u00a9 Nicanor Garc\u00eda | FUJIFILM X-H2 and FUJINON XF8-16mmF2.8 R LM WR, 1\/500 sec at F13, ISO 500<\/figcaption><\/figure>\n\n\n\n

\u201cAfter some time, I bought the FUJINON\u00a0XF56mmF1.2 R WR<\/a>\u00a0and the FUJINON\u00a0XF23mmF1.4 R LM WR<\/a>, which I tend to use when there\u2019s less light. I can focus more on either details or people. The whole point of my interest in travelling is that I can photograph architecture, but I\u2019m not limited to just that.\u201d<\/p>\n\n\n\n

Since the X-T1, Nicanor has worked his way through a number of X Series cameras and is currently still using a model from the same range. \u201cI now have the FUJIFILM X-H2<\/a>, which has a 40-megapixel sensor,\u201d he notes. \u201cI value that resolution. When I\u2019m doing architectural photos and correcting the vertical lines, that correction is less evident.\u201d<\/p>\n\n\n\n

While sticking to his five-lens kit for most applications, Nicanor has made a couple of substitutions in recent years, such as introducing the\u00a0FUJINON XF8-16mmF2.8 R LM WR<\/a>\u00a0for his wide-angle work.<\/p>\n\n\n\n

\u201cThe jump from 10mm to 8mm is very useful for some interiors,\u201d he adds. \u201cOn the other end, I switched to the\u00a0FUJINON XF70-300mmF4-5.6 R LM OIS WR<\/a>\u00a0and added the\u00a0FUJINON XF1.4X TC WR<\/a>\u00a0and\u00a0XF2X TC WR<\/a> Teleconverters.\u201d<\/p>\n\n\n\n

With a vast lens selection to choose from, Nicanor can now tailor his kit bag for each trip he takes. \u201cIt\u2019s like you have a set of brushes, and you take the ones you need for each situation.\u201d<\/p>\n\n\n\n

\"\"
Photo 2023 \u00a9 Nicanor Garc\u00eda | FUJIFILM X-H2 and FUJINON XF70-300mmF4-5.6 R LM OIS WR, 1\/2500 sec at F4, ISO 500<\/figcaption><\/figure>\n\n\n\n

Outside the box<\/h2>\n\n\n\n

\u201cAlthough I often document architecture, I\u2019m primarily interested in using buildings as visual material, exploring geometry, color, rhythm and atmosphere as a way to reflect on cities, how we use and inhabit them \u2013 and to create connections that go beyond simple description,\u201d Nicanor explains.<\/p>\n\n\n\n

\u201cIn architectural photography, there are some rules \u2013 for example, to keep the verticals vertical,\u201d he points out. \u201cThat\u2019s the point of\u00a0tilt-shift lenses<\/a>. Alternatively, you can make this correction in post-processing.\u201d<\/p>\n\n\n\n

Outside of the fundamentals, Nicanor seeks to avoid too much rigidity in his work. \u201cIf you ask three architectural photographers to take photos of the same building, it\u2019s possible that the photos will be similar. Architectural photography is a bit limited, which is why I like to introduce other parameters.<\/p>\n\n\n\n

\u201cThere are some photographers who take photos of buildings with lots of people inside or of buildings that aren\u2019t new, when the users have started to change some of the details.<\/p>\n\n\n\n

\"\"
Photo 2023 \u00a9 Nicanor Garc\u00eda | FUJIFILM X-H2 and FUJINON XF70-300mmF4-5.6 R LM OIS WR, 1\/1600 sec at F4.5, ISO 500<\/figcaption><\/figure>\n\n\n\n

\u201cThis is a way to take advantage of something that is not really alive. The thing you have to do with the building is keep it alive,\u201d he notes.<\/p>\n\n\n\n

\u201cMany times, when you\u2019re sharing pictures of architecture, it\u2019s difficult for people to connect,\u201d Nicanor goes on. \u201cOn Instagram, I add captions that complement the photo. This mainly works when it\u2019s a photo of a detail or something quite abstract. A caption can push the viewer in a direction \u2013 like adding some salad to meat to give it more life.<\/p>\n\n\n\n

\u201cWhen you do a series, it\u2019s good to go far away, to take photos of the building in its context,\u201d he suggests. \u201cMany photographers are very focused on the building itself, because that\u2019s what the architect wants. But if you move further out you can integrate it with the other buildings, or see what is happening with the vegetation.<\/p>\n\n\n\n

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Photo 2024 \u00a9 Nicanor Garc\u00eda | FUJIFILM X-H2 and FUJINON XF70-300mmF4-5.6 R LM OIS WR, 1\/4000 sec at F5, ISO 500<\/figcaption><\/figure>\n\n\n\n

\u201cWorking between architecture and travel photography gives me the freedom to move away from pure description and construct images with mood and narrative, where architecture becomes a starting point rather than the final subject.<\/p>\n\n\n\n

\u201cThis is why I think the best situation is not to be working directly for an architect, so you have a degree more freedom. You can edit a photo to give it more of a mood, and you can construct a history that does more than explain what the architect has done,\u201d Nicanor concludes. \u201cIn the end, the building is not for the architect \u2013 it\u2019s for the people who will use it.\u201d<\/p>\n","protected":false},"excerpt":{"rendered":"

Nicanor Garc\u00eda discusses his transition from architect to photographer, establishing a style and building a following Spanish photographer Nicanor Garc\u00eda explores cities and culture through his studies of the built environment. Originally an architect, he was introduced to the art of photography over the course of his professional training. \u201cWhen I started to study architecture, […]<\/p>\n","protected":false},"author":273,"featured_media":342422,"template":"","category":[2084,1006,1202,1055,3211,3309,320,3407,3162,1986,565,6053,7131,11100,9140,8258,11051,8797,8356,9189,8993,3358],"post_tag":[],"b2b-solutions":[],"class_list":["post-344039","story","type-story","status-publish","has-post-thumbnail","hentry","category-be-inspired","category-cameras","category-category","category-lenses","category-x-series-mirrorless","category-x-mount-prime","category-products","category-x-mount-teleconverter","category-x-mount","category-x-series","category-stories","category-x-h1","category-x-h2","category-xf14x-tc-wr","category-xf10-24mmf4-r-ois-wr","category-xf23mmf14-r-lm-wr","category-xf2x-tc-wr","category-xf55-200mmf3-5-4-8-r-lm-ois","category-xf56mmf12-r-wr","category-xf70-300mmf4-5-6-r-lm-ois-wr","category-xf8-16mmf28-r-lm-wr","category-zoom"],"pp_statuses_selecting_workflow":false,"pp_workflow_action":"current","pp_status_selection":"publish","acf":[],"publishpress_future_action":{"enabled":false,"date":"2026-08-05 04:35:35","action":"change-status","newStatus":"draft","terms":[],"taxonomy":"category","extraData":[]},"publishpress_future_workflow_manual_trigger":{"enabledWorkflows":[]},"_links":{"self":[{"href":"https:\/\/www.fujifilm-x.com\/da-dk\/wp-json\/wp\/v2\/story\/344039","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.fujifilm-x.com\/da-dk\/wp-json\/wp\/v2\/story"}],"about":[{"href":"https:\/\/www.fujifilm-x.com\/da-dk\/wp-json\/wp\/v2\/types\/story"}],"author":[{"embeddable":true,"href":"https:\/\/www.fujifilm-x.com\/da-dk\/wp-json\/wp\/v2\/users\/273"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.fujifilm-x.com\/da-dk\/wp-json\/wp\/v2\/media\/342422"}],"wp:attachment":[{"href":"https:\/\/www.fujifilm-x.com\/da-dk\/wp-json\/wp\/v2\/media?parent=344039"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.fujifilm-x.com\/da-dk\/wp-json\/wp\/v2\/category?post=344039"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.fujifilm-x.com\/da-dk\/wp-json\/wp\/v2\/post_tag?post=344039"},{"taxonomy":"b2b-solutions","embeddable":true,"href":"https:\/\/www.fujifilm-x.com\/da-dk\/wp-json\/wp\/v2\/b2b-solutions?post=344039"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}