Artwork

... 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.

Rötelzeichnung

When I was young I was confronted to these Rötelzeichnungen. A crayon in read with a subtile and fine design. I love to redraw it in an analogue way with a modern digital camera. 

Photography out of cam. Little ajustments in Lightroom.

Just a test

From the series Rêves-Floux

Initially the idea was just to test how we work together. We met at the studio to talk and exchange ideas.

Yellow Dress

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.

Hard Sunlight

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.

Etude

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.

Crayon

From the series Rêves-Floux

Images strait out of camera with some brightness, contrast, and background adjustments. No filters, no strobes, shot with the Fujifilm kit lens.

Intended to be printed on Hahnemühle fine art paper.

Papier Blanc

Study on white paper in natural light.

It is quite complex to have a fluid movement on a wite background without any colour side effects. Most my images have only little processing in Photoshop. it is mostly a work that must be solved in handling the camera and light properly.

Rencontres d'Arles 2022

ProfiFoto(s) @ Arles 2022

Über die Fotozeitschrift ProfiFoto bin ich bin mit einer Serie der Rêves Floux auf den Rencontres d'Arles 2022 vertreten.

Alle Bilder sind käuflich direkte vor Ort erwebbar.

Rose

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.

2015 Experiments

one of the first tests in 2015. Had no idea what to do with it or how to progress.