This is a common denominator in much of Isidro's latest work where he seeks to question the idea of the photograph's veracity as a recording medium and its ability to convey reality. On a visit to Berlin, a city he only had knowledge of from photographs in newspapers and books, Isidro has sort to produce a different visual narrative that not only produces an image that can never be seen in reality but gives the viewer a new understanding of the urban landscape somehow captured in its entirety.

Isidro approached making his project "360 Degrees" with the rigour of an architect; spirit level in hand and using his lens as a range finder to ensure each elevation was photographed with mathematical accuracy. Selecting square almost anonymous buildings he took four frames, one of each corner, anchoring the composition of each photograph in the centre. In the studio he layered each selected frame on top of another so that the four photographs become one new image. From this visual over-load, amidst the tangle of the vegetation and graffiti can be seen emerging a new and individual vision of the buildings Isidro photographed.

What Isidro has achieved in "360 Degrees" is to move photography beyond its limitations and create an image that expresses a new truth by giving the viewer the total 360 degrees of his subject.