by Editor Michel Romaggi in collaboration with the author, Alfonso Novillo 
Edited and published by Yvette Depaepe, the 21st of September 2022

Shapes, lines, and colours in urban landscapes are the main source of inspiration for Alfonso who turns them into striking colourful pictures.
He kindly told us how he worked to get this result.

'Online'

Can you precisely describe to us the steps to achieve 'Online' from the moment you captured it until the final editing?

'Online' consists of two photographic shots.  The idea came to me when I saw a red facade with a horizontal white line. I knew it was a nice composition, but something was missing. Ideas always pop up sooner or later but certainly if you explore the surroundings, you will realize you have it right there.
Curiously, it happened to me a few meters from my house.  I saw this red facade in an industrial area, and right in front of me, there was a parking exit door and the no-entry road sign . When I saw it, I already knew what I had in mind while taking the photo, then I had only to unite the plan of the facade, with the no entry sign that was right in front of me and that’s how the photo "Online" appeared.

Strange enough, it wasn’t the first time that this happened with a photograph. For example, with the photo "Mute" something similar happened (although in this case I also had to change the colour of the facade from gray to blue).  This really is a start from where I always try to improvise and make something special with my pictures.

'Mute'

I always use Photoshop and Camera RAW for the post-processing.  I try to squeeze the colours as much as possible.  The first thing I do is correct the perspective in Camera RAW as well as the levels, lights, shadows, tones, etc.  Then I open it in photoshop and refine the colour processing of the photograph. I also eliminate many things that don't fit in the composition using the clone buffer or the adjustment layers. I can spend hours processing an image, playing with colours depending on the type of composition. I sometimes include an object to give it more realism, although the most important is that in the end, the image is convincing.

Playing with shapes and colours seem to be primordial to you, isn't it?

In abstract architecture photography, you can find countless ideas and curiosities, when you find a striking composition, the important thing is not what that composition is, but the game you can get out of it, playing with the details and even improvising with the objects around you. It does not matter the colour or if something you have seen in the shot does not catch your attention, because then you can play with it in the post-process, with photoshop and adapt it to what you like the most.

'Blocks'

What equipment do you use?

Most of my shots are taken with a tele lens (70-300 mm.) to get some details from a facade. It is ideal, even if it is far from the objective.
I also use a 35mm. fixed focal length lens, for general compositions. Depending on the accessibility of the building, one lens or another may be used.

Can you tell us how you came to photography and especially to this kind of photography?

For many years, I have been found of photography. What most catches my attention is architectural and abstract photography. I have always enjoyed it since I had my very first analogue camera.  I loved photographing buildings. I started to study photography in the analogue era when digital photography did not exist. I like to go out with my camera and my equipment, I don't care what time it is, or if the weather is good or not.  When I go to the city, knowing that the buildings always are there in the same position, you might think that you are not going to discover something new.  But you can!  Looking for the best angles, improvising with the weather or taking advantage of unexpected moments. It happens often that I save the exact point of interest to go back anytime to photograph it. I like to use a neutral density filter in the morning on a sunny day.  In the evening it is interesting to take advantage of the last hours of light. I am very lucky to live in Madrid, since the city has been growing in recent years and has given me the opportunity to make the most of the city’s surroundings, from skyscrapers to impressive buildings full of harmony and colour. An advice I would like to give, try to feel comfortable at all times and never despair.  There is always the possibility to work on your photos with post-processing. 

'Color Facade'

Many thanks, Alfonso.

I'm grateful to have had the opportunity to share it.
I hope this tutorial will be motivating for many.