The building is built on an axis, and photography that ignores that fights it.

Palace architecture is symmetrical on purpose: the eye is meant to run down a centre line to something at the end of it. Shoot it casually, off-centre, and it just looks like a large hotel. Shoot it square, from the middle, at the height the design assumes, and the whole thing snaps into the shape the architect intended.

Thirty-six frames, with the pool and beach axis carried through the set so the property reads as one composition rather than a collection of corners.