Photographer Aboud Dweck's journey began in his teenage years and blossomed into a diverse exploration of photographic subjects.
Aboud is driven by inner resonance rather than external acclaim. Amidst the unpredictable rhythms of outdoor shoots and studio introspection, Dweck's career milestones, such as conquering daunting assignments and capturing aerial spectacles, attest to his dedication to his craft.
Can you tell us about your journey to becoming a professional artist?
It all started as a teenager!
I won an honorable mention in a national competition sponsored by Camera 35 magazine. That was the hook. I fell in love with the art and never looked back.
Tell us about your work.
I started my journey as a portrait photographer, then a few years later started doing a variety of work: from tabletop studies to architectural images for editors, art directors, and designers.
Taking photos of architecture captured my imagination and the structure and technique of that seemed to inform all of my work, regardless of subject.
Tell us about your process.
Making the transition to fine art photography required that I recognize that I am creating only for myself.
The photographs I create must resonate only with me. If my work is recognized and appreciated, that certainly is welcome, but that is not what drives me.
When you are looking for inspiration, what resources do you turn to?
I don’t actively look for inspiration.
I do look at other photographers' work I admire, but I do not try to emulate it. When I travel to take photographs, I study buildings and streets to start my composition.
Documenting the street is a different process. I wait for an interaction to develop, it will call out to me, then I trip the shutter. A successful image is a result of awareness and serendipity.
Finding the right rhythm to be productive can be a challenge, what advice do you have for staying productive and focused?
I’ll confess I don’t have a rhythm so much as an energy level, which can be affected by weather and my overall mood.
That said, if I have a particular project in mind, like a series of still life studies, I take a lot of time to prepare the scene, decide which kind of lighting I want to use and take some preliminary test shots.
After I evaluate those I go further into the subject and after warming up, experiment with less usual techniques and perspectives.
What is your advice for combating creative block?
When I am stumped, I walk away.
I do something totally unrelated to my work to clear the fog and any mental cobwebs. Sometimes it is as simple as a walk or lunch with my son. The block will dissipate, usually within a day. 
As an artist, how do you measure your success? Can you recall a specific event or milestone(s) in your career that made you feel successful?
Many years ago I was offered an assignment that I truly thought was over my head. I hemmed and hawed about taking it when an associate told me to do it.
It required having sets built in the studio, selecting models and stylizing, work I was not yet proficient with. I took on the project and it was well executed - I was happy and felt I could take on anything.
The next seminal experience was aerial. I had to photograph a stunt pilot from a chase plane with no doors on it. Yes, I was secured by a harness but it was still quite a rush.
How do you see the art market changing? Where do you see yourself in this transition?
I’ve always felt my work would stand out for the quality and execution, but now I have to work harder to make it distinct and get the viewer to recognize it as such. 
Do you consider yourself, and all artists, to be entrepreneurs? Why or why not?
It depends on the artist. Some are good at social media and marketing, others are uncomfortable with the idea which is why they want galleries to exhibit and sell their work.
What does having your artwork in the workplace and other commercial or public spaces mean to you?
The sale of prints keeps me able to work - the exposure and recognition supports it. 
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