My favorite lens is the Samyang AF 85mm f1.4 FE. I currently happily own three f1.4 to f1.8 prime lenses (Samyang and Sony) covering a good range of not-so-typical focal lengths (28mm, 45mm, 85mm). 4 years ago, I bought my first zoom lens (Sony SEL G 28-135mm f4.0), and it nearly killed my passion for photography. Concerning technique and technology, artists look to the future, not to the past.ĭespite this, I do have my little obsessions: manual focus, manual exposure, no flash, only prime lenses. Meaning they always pioneered the use of the newest technology of the time. And to all the film-photography buffs, I’d like to point out that the great artist photographers (and artists in general) of the past were innovators. At the end of the day, it’s not about the technology but about the picture itself. All in all, I’m always up-to-date with the latest technological innovations, and I’m not afraid to jump on the wagon as soon as they prove to be worthy, as with my mirrorless camera (SONY Alpha 7R2) and my studio equipment (made up of continuous, LED lights only). I embraced the digital revolution very early and never looked back. I think his influence on our modern visual culture is still enormously underestimated.ĭespite starting with film photography, I’m actually a digital guy (I also hold a master’s in digital media). His use of the human shadow as a formal element, the geometries in the composition, the tonal contrasts, his precision are simply unrivaled. Whereas photographers from the first decades of the century like Man Ray and Bill Brandt are fascinating for their vanguardist and experimental strength, the photographer I probably feel aesthetically more inspired by, as a fine-art and street-photographer, is Fan Ho. Later, when selecting and editing the photos, there is more time for detachment and rationality but, at the end of the day, it’s still your aesthetic sensibility making the choices. It’s like my subconscious talking to my future self about my past self.Īt the very moment of shooting, it’s all about chasing the beauty in the viewfinder in a totally intuitive, instinctive, and immersive way. I usually only understand years later what I was expressing with a particular photo. Most of the time, I’m not even aware of why I’m attracted by a certain photographic subject and not something else or why I like certain pictures of mine and not others. Photography is another way for me to let my subconscious express itself. Being an artist instead means having a peculiar, unique vision independently from what is commonly regarded as “beautiful.” Coming from the commercial world of advertising, my artistic vision can be considered a synthesis between these two. So being a professional photographer requires, in order to make the right aesthetic choices, having a concept of what is generally regarded as “beautiful” by society, by your audience, or by your customers. Books may contain a set of general rules to make a photo correct from a technical perspective, but the concept of “beautiful” is a totally subjective one. No books exist on how to make beautiful pictures. The “eye,” the aesthetic sensibility, the feel for photography is that decisive aspect. And it’s also not what actually sets apart the wannabes from the real photographers. Differently than most people think, the technique is not the most time-consuming – or hardest – aspect of photography to learn. My last ten years have been enormously important in refining my visual culture, my aesthetic sensibility, and, most of all, my vision.
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