... it was time for a change.
The work presented here is quite different from the more classical portraits. It is halfway between photography and videography, using effects of movement and poses that are telling stories in the observer’s mind. Rêves-Floux is a mix of dream-like narration and complex movements.
In none of the shots presented here, whether they are more abstract or closer to old French paintings have not been modified in Photoshop, except to adapt the background or sometimes make faces even more anonymous, also to protect the model’s identity.
Study on white paper in natural light.
Woman in a dress as if drawn with a pencil. I used to draw when I was young but I like the transparency and the multiple layers of this photography technique.
It is also a matter of trust as it is quite impossible to have a precise idea of the outcome. It all depends on shapes, moods and creativity. It is a kind of dance between the photographer and the model.
Of course I could be very directive, give uncompromising instructions, manipulate, but that would feel bad and cold to me.
What a fun when we look at the first pictures together. The discovery that a body doesn't have to be perfect, but can be a work of art to experiment with in a non-threatening way.
From the series Rêves-Floux
It was on a cold December day. I planned for week to shoot in cloudy situations and very soft light. But when the day started the sun came it, turned the temperature to 27°C and hard sunlight hit the ground.
That was not my plan. So, we played around ...
Thanks, Irina, for this cool shooting.
I have to say that the engagement and patience of the wonderful models I am working with is really motivating.
When you have just a small studio, a white and a black background with little extras and chose to work with only one, or max two light sources, it is all thrown back to your creativity, to your imagination, to your control of the camera, light and the model.
You need to find a balance between giving instructions and let the model flow in her own body language. The light and background are shaping the scene, my instructions are basically to keep the model inside the frame. A professional model, and sometimes amateurs, who understand and interpret in a creative way your idea allows you to be creative.
When I do this artwork, the model is a human I am painting like using a brush. I am more feeling then seeing the model. Hard to describe.
But basically, it is a matter of trust and mutual respect.
Big thanks to Vita.
Once the idea established and the room set like in a classic theatre peace the performance of the model conducted into that space gives moments of freedom. Once the perfection (of a portrait) is no longer present in the making there is a transformation in the movements, poses and expressions. You have and will be by yourself, as a model, a photographer or even as the final observer.
At the other end of my black and white portraits you will find another approach of “being yourself”. This unclear, unsharp moments in motion full of open spaces allowing at the same time to the model and the observer to deep dive into their respective imagination.
Next to the esthetical exercise and experiments with colours I am fascinated by the feedback of the observers who have very personal interpretations that are sometimes far from the original momentum.
The inner conditions that these emotions are can be clearly seen in the pictures do only reveal the observes life experience and state of mind. At this point I do not only discover the emotional world of the model, myself but also the observer’s one.