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Jean-Pierre Zanotti’s abandoned-building photographs are less about owning a particular camera than about slowing down to find the right light and composition. The photographer, known as JP Zanotti in DPReview’s community forums, works across France and Italy with Fujifilm cameras, ultra-wide lenses, a tripod and a deliberate exposure routine. He says even an ordinary corridor can become a compelling subject when the elements align.
What shapes Zanotti’s photographs
Zanotti, who is based in Toulon, France, looks for photographic potential rather than spectacular locations. “What draws me in is anything that still holds real photographic potential – and that potential rarely depends on the place being spectacular,” he says.
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That outlook informs his approach to composition: a bare corridor or empty doorway can work when the light and framing are right. His account is a personal description of how he photographs, not a claim that a specific camera or lens will produce the same results for someone else.
The cameras and lenses he uses
Camera bodies
Zanotti lists the Fujifilm X-T2, X-T3 and X-T5 among his favorite cameras. For cluttered interiors, he also names the Fujifilm X-E5 paired with the Viltrox 9mm lens as a favored combination.
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- Connectivity and ports listen to headphones with a 3.5mm audio port connect to devices with USB 3.0 and connect to an external monitor or external Recorder with a full-size HDMI port available Twin SD card slots (UHS-II U3 compatible)
His lenses, from zoom to primes
The Fujinon XF 10-24mm F4 zoom was his main lens for years. Zanotti says most of the photographs shown in the DPReview feature were made with it. He later came to favor fixed focal lengths, particularly the Viltrox 9mm F2.8 Air and 13mm F1.4.
His other named lenses are the Fujinon 8mm F3.5, 16mm F1.4 and 56mm F1.2. That selection spans very wide views through to longer focal lengths, but the feature does not identify which lens made each image.
Zoom or fixed focal length?
| Option | What Zanotti reports | What the account establishes |
|---|---|---|
| Fujinon XF 10-24mm F4 zoom | His main lens for years; he says most of the feature’s photographs were made with it. | A zoom offers framing flexibility without changing lenses. The feature gives no controlled comparison of its performance against his later choices. |
| Viltrox 9mm F2.8 Air and 13mm F1.4 fixed lenses | Lenses he later favored; he also names the 9mm in a favored X-E5 setup for cluttered interiors. | These are fixed focal lengths rather than a zoom range. The feature does not establish that they are better for all photographers or situations. |
The change describes Zanotti’s own preference, not a universal upgrade path. The source offers no measured sharpness, distortion or other performance results that would settle the choice for another photographer.
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An overwhelming location can trigger what Zanotti calls a “shooting frenzy.” He says he deliberately slows himself down and may spend five to ten minutes setting up a single shot. His reported routine is:
- Choose the lowest native ISO he can use for the exposure.
- Deploy a stable tripod and compose the scene.
- Bracket exposures as a precaution.
- Focus manually, using focus peaking to help judge focus.
- Use a blower to remove dust and check the image carefully for sharpness.
- Step away from the tripod during a long exposure so he does not transmit vibration through the floor.
This is Zanotti’s field method, not a controlled test or a guarantee of sharp results. His account emphasizes careful setup and checking the image rather than relying on gear alone.
Independent reader supportYour contribution helps us test, update, and keep practical guides available for everyone.Support, cleaning and field kit
Alongside his cameras and lenses, Zanotti describes carrying a fully deployed, stable tripod and a blower for cleaning. He sometimes uses a Nodal Ninja panoramic head, but says improved ultra-wide lenses have made him rarely need it. His backpack is a Lowepro Flipside Trek BP 350 AW.
His wider field kit reflects the conditions he expects in abandoned buildings:
- Compact rain jacket, food and water
- Folding Silky saw
- Inflatable LED light stick and small LED panel
- Hard hat and Petzl headlamp
- Tough clothing, high boots, clear safety glasses, dust mask and sturdy flexible gloves
He says artificial light often looks wrong in this work and that he rarely uses the lights to make photographs. They can instead serve as fill or help him see where he is walking.
Safety matters as much as equipment
Abandoned does not necessarily mean unowned, open to the public or safe. Zanotti warns, “These places are abandoned, but that doesn’t mean private or safe, so there’s no coffee break to fall back on; you just have to force yourself to slow down.” He also urges anyone tempted to try this kind of photography to take real precautions and not be reckless.
His protective equipment is part of his personal kit, not a complete safety standard. It does not grant permission to enter a property or establish that any site is safe to explore. Check access rights and local rules, and do not enter places where hazards cannot be assessed or managed.
Why the gear is not the whole story
Zanotti says older, modest equipment was capable of making prints he valued. His conclusion about equipment is straightforward: “The gear in this article helps, but it was never the reason any of these photos worked.” For his work, the camera bag supports a process built around observation, composition and patience.
Source: Mathew Anderson, “This community photographer shares the gear behind striking abandoned places in France and Italy,” DPReview, October 1, 2026.
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