From the soaring domes of Hagia Sophia to the majestic libraries of Europe, Ertug has spent over fifty years capturing architectural wonders with poetic precision, creating a timeless visual archive of cultural heritage
Renowned for his breathtaking large-format architectural and cultural heritage photography, Ahmet Ertug stands at the crossroads of art, history, and architecture. Trained as an architect and guided by a profound emotional connection to the spaces he captures, Ertug’s images are more than visual records—they are meditative tributes to human achievement and sacred design. Over five decades, he has documented some of the world’s most iconic monuments, from the domes of Istanbul to the libraries of Europe, using a meticulous analog process that honors both the scale and spirit of these structures. In this conversation, Ertug reflects on his creative philosophy, technical precision, and the enduring importance of preserving cultural memory through photography.
Your background in architecture informs your photography profoundly. How do you decide which architectural elements to emphasize in your compositions?
I select buildings with extraordinary architectural features, especially from the Renaissance period. My favorite architectural edifices are the ones with domes. As I live in a city of domes in Istanbul, I am very passionate about them. I try to capture the colossal interior of the monument with a wide-angle lens to show the relationship of the dome with the rest of the building. I always imagine where the architect of the building stood in the building and place my camera at that point. Then, I capture this spectacular view with my large-format camera, and it becomes an image on film. Afterwards, it is printed as a large photographic print of 6’ x 7’ or smaller. The final image is displayed in an exhibition for people to view.
You’ve photographed iconic spaces like Hagia Sophia and Europe’s grand libraries. What is the greatest challenge in capturing their essence?
In principle, I photograph buildings I have an emotional attachment to or architecture I find outstanding. It is a meditative process before I take the actual photograph. I study the building’s layout plan, especially aerial photographs and their relationship with the light during certain hours of the day. The essence is to find where the heart of the building is beating. I discover this point instinctively, and I position my camera accordingly.
Your use of an 8×10-inch large-format camera is distinctive. Can you share how this choice of equipment shapes your creative process and the final aesthetic of your images?
I use a large-format Sinar P2 heavy-duty camera. I can take 15-20 cassettes of films with me, so my film stock is limited. I must be selective and measure the light precisely to achieve perfection. Behind the camera, I can make precise composition and perspective control adjustments. I wear a black cloth over my head to see the image reflected in the camera’s viewing glass. Finding the best position to place the camera is the secret to capturing the building’s aesthetic qualities. If you also receive a ray of light at that moment, your image will go beyond expectations.
Your work often bridges the past and present, as seen in projects like” Temples of Knowledge: Libraries of the Western World”. What motivates you to preserve the memory of cultural heritage through photography?
I realized our world’s cultural heritage should be more appreciated by the public.
If we increase people’s intellectual capacity, they will be more critical and knowledgeable about the new buildings’ authorities’ planning in their living environment. In the last 50 years, I have been doing exhibitions and publications to show this heritage.
You’ve spoken about standing where the original architect might have stood. How do you find that vantage point, and how has your training helped?
I find this point instinctively; I place myself in the architect’s place and select a position where I would admire his accomplishment. I studied at the Architectural Association School of Architecture in London and listened to lectures by legendary architects like Norman Foster, Richard Rogers, and many others. But the Japanese experience gave me a very special meditative and emotional approach to architecture.
Your exhibitions, such as those at La Conciergerie and the Bibliothèque Nationale de France, are held in historic venues. How does the setting of these spaces influence the way you present your photographs?
“Conciergerie” was a very important monument with strict regulations of not touching the original walls. I designed the exhibition concept where wooden easels were used to carry the photographs. Wooden easels were built by a master frame maker in Düsseldorf, and pictures were displayed on these easels. Special lights were attached to the ceiling and focused on the photographs. The Conciergerie’s interior lighting was dimmed, creating a mystical ambiance.
Your art books, like “Palaces of Music: Opera Houses of Europe”, are celebrated for their exquisite production quality. How involved are you in the publishing process, and what makes these books so special to you?
I am very involved with book design and all stages of production. I supervise the printing and select all materials myself. I use exquisite binding cloth from Japan and sometimes hand-woven velvet from Venice. I collaborate with master binders from Italy and Switzerland and work with excellent printers in Italy, Switzerland, and Germany.
Your photography captures spaces’ spiritual and aesthetic dimensions. How do you balance technical precision with conveying a place’s emotional or meditative energy?
I am very sensitive to the inner energy of these beautiful architectural spaces. I have a deep respect for capturing this energy in my photography. This year, I celebrate 50 years in photography; I assume one achieves experience during this period.
Having photographed across cultures—from Byzantine and Ottoman sites to Japanese temples—what universal qualities do you find in architectural heritage that resonate across different civilizations?
It is the cultural and emotional connection of people of different civilizations that makes these buildings great monuments.
What advice would you give aspiring photographers who want to document cultural or architectural heritage with the same depth and impact as your work?
- Dedication to excellence is primary
- Photograph only what you believe is extraordinary
- Attend lectures in architectural or archaeological schools
- Have a library of your own or become a member of a great library
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