Santolia Art Suites

The photographic challenge

Santolia Art Suites in Santorini brings several different subjects into the same photographic series: white architecture, compact interiors, spa terraces and views towards the sea. I want a viewer to understand how those spaces belong together, rather than see a list of rooms and facilities.

The white surfaces are a particular consideration. In the exterior photographs, changes in light and shadow describe the edges of the pools, the built-in seating and the depth of the terraces. Those differences need to remain visible. If the brightest areas lose their detail, the architecture becomes harder to read.

Inside, the challenge is different. Dark shutters, woven details, open wardrobes and round mirrors stand out against the pale walls. A useful viewpoint needs to give each of those elements its place without making a small room feel crowded. I pay attention to the doors and openings too, because they explain the connection between a suite and its outdoor space.

My approach

I approach hospitality photography through both the design of a property and the way it is used. At Santolia, the bedrooms and sitting areas establish the interiors, while the spa pools, massage tables and breakfast settings introduce a more personal scale. Together, they help someone considering a stay look beyond the dimensions of a room.

The aerial opening photograph gives the series its context. It shows the arrangement of the white buildings and terraces within the surrounding settlement, with the coastline beyond. That wider perspective is useful before moving closer to individual spaces. My aerial photography supports the architectural work here by explaining relationships that are difficult to show from ground level.

For the interiors, I look for compositions that keep the geometry clear. Built-in seating, desks and wardrobe openings create strong lines, while the curved mirrors and woven elements soften the rooms. Controlled perspective helps those details sit comfortably together. I want the viewer to notice the room itself, rather than the technique used to photograph it.

The outdoor photographs need a different balance. A view towards the sea is part of the experience, but the terrace still has to be the subject. The pool edges, seating and massage tables give the foreground a clear structure. Breakfast and refreshments show how these spaces can be enjoyed, while the photograph of a guest in the pool introduces a human presence without taking attention away from the setting.

Daylight and sunset also contribute different information. The brighter photographs describe the white forms and the colour of the water. In the sunset views, the relationship between the terrace, the sea and the evening light becomes more prominent. Including both gives the series a broader account of the property.

As an architectural, interior and commercial photographer based in Greece, I consider how a collection will work across a property's presentation. These fourteen photographs bring together the suites, outdoor spaces and Santorini setting, offering both wider views and quieter images that can support different parts of that story.