Roberto Conte is an Italian architectural photographer, born in 1980 in Monza, Italy. He began his career in 2006 by photographing abandoned locations in and around Milan. Over the years, his focus shifted toward capturing modern and 20th-century architecture, including rationalist structures, post-war modernism, brutalism, and Soviet modernism. His work is marked by an analytical yet emotional approach, often revealing the sculptural qualities of architecture through his lens.
Conte has collaborated with architecture studios, institutions, and renowned artists like Edoardo Tresoldi and Gonzalo Borondo. He is also the co-author of Soviet Asia (2019) and Brutalist Italy (2023), both with photographer Stefano Perego. Brutalist Italy, published by FUEL, documents over 100 Italian brutalist structures and highlights their unique blend of raw materiality and historical references. The book was widely praised and recognized as one of the best architecture and design books of 2023.
Conte’s photography has been featured in notable publications such as Atlas of Brutalist Architecture and This Brutal World, and his work has been exhibited internationally. He has also lectured at several universities, including institutions in Italy, Denmark, and Russia.
What inspires you as an architectural photographer?
I am particularly attracted to modern architecture, especially structures without decoration. In these cases, the role of the photographer becomes more crucial in creating a striking image.
What led you to specialize in architectural photography?
Curiosity! I started by photographing abandoned places near Milan. Photography became a way for me to explore and satisfy my immense curiosity about architecture.
How would you describe your photographic philosophy when capturing architecture?
The challenge lies in translating three-dimensional structures into two-dimensional images. It’s essential to create compositions that give the illusion of depth. I also view my photography as a responsibility since people often experience architecture and art installations only through my images.
Can you tell us about your favorite architectural project and what makes it stand out to you?
My all-time favorite is the Pantheon in Rome. Despite being ancient, it’s an example of how challenging it can be to capture certain architectural spaces. I’ve never seen a single photograph that truly conveys the emotions felt inside the Pantheon, especially with its stunning open cupola.
How do you prepare for a photo shoot to ensure you capture the essence of the building?
I always study the building’s position, orientation, and the sun’s movement throughout the day. This preparation is incredibly useful for achieving the best shots.
How do you balance artistic expression and accurately represent the architect’s vision in your photography?
This is always a delicate balance, and it changes with each project. There’s a need to showcase the structure accurately, but also a desire to evoke curiosity and awe. It all comes down to the specific points of view, natural light, timing, and the lenses used.
How do you approach working with architects and designers to capture their vision through your lens?
I collaborate closely with both artists and architects, and it’s crucial to understand their vision. A detailed briefing about the project and the intentions behind it is essential for capturing the right shots.
Do you have any advice for young photographers who aspire to specialize in architectural photography?
Yes! Practice as much as possible and always maintain a critical perspective on your work. Study other photographers, but follow your own inclinations and curiosity to find interesting architectural subjects.
What time of day do you prefer for shooting?
In general, the best light is around sunrise and sunset, as it’s softer. However, depending on the building’s orientation and surroundings, the ideal time can vary and might even be midday.
What’s in your camera bag right now?
I frequently use two tilt-shift lenses—a 24mm and a 17mm—for managing falling lines, alongside other traditional zoom and wide-angle lenses.
What’s your favorite photo you’ve ever taken?
I can’t choose just one, but a photo I’m particularly fond of is a detail of the façade of the Hotel Uzbekistan in Tashkent. It’s also the cover image of my book Soviet Asia.
What do you enjoy most about photography?
Photography allows me to truly engage with a place. It pushes me to find the best angles, the best time of day, and the best perspectives, helping me to understand my subject more deeply.
