Edmund Sumner As a photographer working internationally since 1998, one quickly understands that each country, each culture, brings with it a distinct visual language. American architectural photography, for example, often leans toward the overtly commercial: saturated colour, extensive lighting, and a highly controlled image, often paired with a more straightforward narrative. In contrast, Mexican architectural photography has developed a voice I greatly admire, one that feels both grounded and nuanced. It draws, perhaps, from a European ‘miserabilist’ tradition - flatter light, reduced colour - yet operates within an abundance of extraordinary natural light, alongside an architectural scene that is arguably leading the world today. One photographer I particularly admire is César Béjar…

SALOMON LIGTHELM This is the spot that made me want to pick up a camera. Somehow, it planted the belief in me that maybe one day I could make a commercial like this. It has that dark, muscular late-90s Fincher energy — unsurprising given it came from around the same era as Fight Club — but this is Dante Ariola in supreme form. For me, this is still the benchmark. The standard.