A benchmark in landscape and mountain photography, Santiago Yaniz has publications in National Geographic and a long list of successful books designed to be seen, read, explored, and enjoyed in the places they portray.

His work “Unforgettable Landscapes, Photo Excursions” is included among the 10 best landscape photography books in Spanish.

On Maiatza 22, we had the pleasure of his presence and explanations for the opening of the exhibition “Panoramic Mountains” hosted by the Punta Begoña Galleries; as well as discussing and reflecting on the past, present, and future of photography, mountains, and cultural heritage.

“It is very appealing to bring natural landscapes to this historic setting.”

In journalism, what do you consider more important in a photograph: that it effectively conveys the news, or that it is beautiful and even artistic?

From a journalistic perspective, a photograph must convey information, emotions, captivate the reader… and of course, if it is beautiful, it will achieve that goal more effectively. Combining all these elements is the job of a good photojournalist.

You portray the mountains like few others in your photographs; is it essential, necessary, or advisable to be a mountaineer to photograph mountains well?

For mountain photography, it’s good. It is good, important, necessary, essential to be a mountaineer, to understand how the light works, what emotions the practitioner of the activity experiences, and to be able to predict the interesting moments in the mountains to capture them in the images you are going to take.

Today, with mobile phones, even the clumsiest among us consider ourselves landscape photographers. However, the process of photographing a landscape is one of the most complex, according to specialists… What is that process like in your case?

For landscape photography, I might find images by chance, or through the exposure factor; by spending a lot of time in many places, many corners, waiting. My method is to systematize documentation. When I’m going to a place, I predict the weather extensively, calculate if I’m interested in being on the right, left, above, or below… I study places a lot before going. And then: patience, patience, patience, a lot of waiting time, studying the light, and tranquility.

Horacio Echevarrieta chose Punta Begoña because from there he could see his ships sailing out to sea and the mountains where his mines were located. Do you think this corner of El Abra and its entirety has photographic magic?

I cannot see El Abra from Punta Begoña now as Horacio Echevarrieta could. There is a different activity. But I have been to the seashore many times, to the Arriluze breakwater, to that area of Punta Begoña, which seems to me a fantastic setting for photography, to see things happening there before my eyes.

It is normal that Horacio Echevarrieta chose that spot.

Does the transition from print to digital journalism impact the photographer’s perspective? How do you view photography in relation to new generations?

The transition from print to digital journalism has primarily had the impact of speed. Before, things were more thought out. Now, there’s a lot of rushing, speed and immediacy are demanded, and there’s very little room for the photographer to reflect. And that is a loss that will become more noticeable every day.

I believe that new generations will experience a frantic race towards infinity. But at the same time, there will be people who will pause, look back, gain perspective calmly, and visually analyze their surroundings with much greater depth. There will be this duality in the photographic future.

Your work has a very practical approach, in the sense of being useful to amateurs and hikers… Perhaps a sample or “photograph” of what sustainable tourism could be.

When I photograph or disseminate my photography, I like to convey a way of seeing, of knowing what we are stepping on, of understanding the environment, and also of discovery. And I believe it is important that this thoughtful gaze is conveyed in a way that avoids destructive steps, but rather steps with knowledge and respect. It is a way of viewing tourism or practicing any of our activities in the territory in a manner that is more than sustainable—it is respectful above all.

Santiago Yaniz is a benchmark in landscape photography. What does it mean to you to exhibit in a cultural and historical landscape like Punta Begoña, which is undergoing a full restoration process?

I have always associated images with settings, and I have enjoyed, whenever I’ve had the opportunity, exhibiting in unusual and exotic places.

That’s why, Punta Begoña seems to me a place of memory, heritage… an exceptional visual setting. Exhibiting there seems very interesting to me. Especially bringing landscapes from a natural environment to an affected setting like its main hall. .

Being a landscape photographer carries a responsibility, as a cultivated gaze can teach a decisive way of seeing. From that point of view, I feel it is a responsibility to be able to disseminate these images.