Interviews with Inspiring Creators Worldwide | ShotVoice

Photographing the GHOSTS of Aviation with Philip Makanna

The ShotVoice Team — Wed, 02 Sep 2026 11:07:30 +0000

For Philip Makanna, aviation photography has never been just about airplanes. It has always been about memory, wonder, and the dreams that first took shape in childhood.

For more than five decades, his GHOSTS photographs have brought historic aircraft back to life — not simply as machines, but as symbols of another time. Today, with an archive of more than 200,000 images, Makanna is thinking as much about preservation as creation: how to keep a lifetime of photographs accessible, meaningful, and alive for future generations.

In this interview, he looks back on the flights, images, and stories that shaped his work — and on the legacy he hopes to leave behind: “I hope that someone will be able to dream my dreams.”

The Beginning

You made your first aviation photograph in 1974. Do you remember that photograph — and what made you point your camera at an aircraft in the first place?

I had gone to the Reno Air Races, assigned to photograph a team of parachute jumpers. There was a flight of WWII aircraft from the Confederate Air Force at Reno that year. I was born in 1940 and had grown up with these airplanes. I knew them from my dreams.

Was there a moment when you realized aviation photography was going to become much more than a hobby for you?

I went to New York, hoping to find a publisher for a book of my circus photographs. New York liked my circus work but the little collection of airplane photographs that I had in my case was what New York bought. The publisher sent me to Texas in 1976 where I wrote and photographed my first book: “GHOSTS, A Time Remembered” (1978). In 1980 my wife and I published the first “GHOSTS” calendar. We have published the “GHOSTS” calendar for 47 years. There have been 13 GHOSTS books.

More than 50 years later, what still excites you when you see one of these aircraft take to the sky?

Flying is a dream that we all have. Flying brings a special perspective … to see the world from above … to see the patterns that we make … to move with freedom like a bird. There is nothing more magical than leaving the ground and moving through the clouds – and then to meet another airplane in the sky and to fly wingtip to wingtip together. Flying is a secret world of wonder and beauty and grace.

Photographing the GHOSTS

You chose the name GHOSTS for your work. What does that word represent to you?

GHOSTS is a reference to mysteries of the past. My work has always been focused on history and memories.

“GHOSTS, A Time Remembered” – I have the shadowed memory of a great rumbling sound. The screen door is banging and my mother is running across the lawn. “Planes! …”

Shading her eyes, searching the sky, she is lost in the thunder that rolls over us. She points and I see tiny shadows in the clouds. Planes are being moved to a place beyond my imagination.

Your photographs don't simply document aircraft — they often make them feel alive. What are you trying to capture beyond the machine itself?

I am trying to photograph the dreams that I had when I was a little boy.

I was a child of a war. I believed, as did most of the other little boys of my generation, that the planes were magic; we dreamed and listened to stories about them with wonder. I remember hearing that at dawn on D-day, the sky was filled from horizon to horizon with black and white stripes that were painted on the wings of every plane. They were the simple, secret marking that darkened the sky over the channel that day. We didn’t see them, but we dreamed.

Historic aircraft are spectacular subjects, but they must also be incredibly challenging to photograph. What makes a truly great aviation photograph for you? Do you have any specific gear to recommend for aviation photography ?

Flying is beautiful but it is also very dangerous. A mistake can be cruel. I have survived three crashes … “good crashes”. Good crashes are crashes that you can walk away from. The best protection is to choose your pilots carefully, but we are always at the mercy of fate.

After photographing aviation for more than five decades, is there one flight, aircraft or photograph that still stands out in your memory?

One flight? – They were all unforgettable.

One flight? – I had flown with the great Lefty Gardner and his P-38 for many years. After Lefty’s death his P-38 was restored and I flew with it again over a lake in Texas. My pilot that morning was Lefty’s son.

A Lifetime of Images

Photography has changed dramatically since you started in the 1970s. What has the transition from film to digital changed most in the way you work?

Digital photography has been a huge change for the better. I was the last guy to switch from film to digits. I refused to believe that digits could be better than Kodachrome. I was very wrong! Image quality has improved. The ability to adjust images and move them from me to you is hugely important. Digital technology has opened the world.

You now have more than 200,000 photographs in your collection. When you look at that archive today, do you see a photographic library, a personal history, a historical record — or perhaps all three?

I have documented hundreds of types of aircraft. My work begins with original Bleriot aircraft from 1911. I have photographed many of the aircraft of World War One. I have flown in original airplanes that are over 100 years old. I have photographed and flown in hundreds of World War Two aircraft.

I have photographed history.

I have secured all of my aviation work and some of my personal work but I worry about its future. Will anyone care about what I’ve done after I’m gone? Will anyone be able to find my work?

Has the way you organize and revisit your photographs changed as the collection has grown? What is your workflow working and dealing with your archives?

All of my 50 years of work is managed digitally. My files are grouped in categories that inter-relate. My aviation work is listed by aircraft types and by the places where they were photographed. My personal work is listed in categories: People – Landscape – Films – “Art” …

All of my work is immediately available and easily moved from my computer to the world. This is hugely important.

Do you think photographers sufficiently consider the long-term preservation of their digital work when choosing the software they use today? Why is it important?

In these past 20 years, I have organized and maintained my film and my digital work with a brilliant management system – Media Pro. But, as far as I know, Media Pro is not supported today. I am struggling to rebuild my archive in a mainstream system. This is not an easy task.

If my archive cannot be easily accessed by future generations it will vanish.

Beyond changing software, did moving the collection give you a different perspective on your archive or make you want to revisit parts of your work?

My system moves quickly and is very flexible. It has allowed me to wander through my life. It has discovered the details and the secret stories that I have forgotten. I continue to work with my aviation photographs but I am currently making little books of my other images. I have titled each of these books “FORTY FOUR PHOTOGRAPHS”. I have recently finished BOOK TEN. Each of these books is a visual narrative … a personal poem.

Photography, Memory and Legacy

The aircraft you photograph are themselves pieces of history. Has preserving your photographs become increasingly important to you as another way of preserving that history?

Yes. I am an old thing now. Preserving my work has become the most important part of my life. I don’t fly any more. I spend my days wandering through my past … editing … trying to make sense of the good stuff … trashing the bad stuff. I am trying to shape what I have done to make it understandable and available.

When someone discovers your GHOSTS photographs 20 or 30 years from now, what would you like them to feel or understand?

I hope that someone will be able to dream my dreams.

And finally, what advice would you give to a young photographer who wants to dedicate years — perhaps even a lifetime — to photographing one subject they deeply care about?

Study the work of Jacques Henri Lartigue. Study and enjoy… Study the work of Henri Cartier-Bresson. Study and enjoy… I wish that every young photographer will be as lucky as I have been.

To see more of Philip Makanna’s aviation photography, you can follow him on his website.

Photo credit: © Philip Makanna/GHOSTS

The post Photographing the GHOSTS of Aviation with Philip Makanna appeared first on ShotVoice.

Walking Tokyo with Street Photographer Yuzo Fujii

The ShotVoice Team — Mon, 09 Feb 2026 15:32:41 +0000

Yuzo Fujii turns everyday Tokyo into a quiet, cinematic stage—where light, shadow, glass, and rain reflections do the storytelling. His images invite you to slow down and notice the beauty most people pass without seeing: a fleeting gesture, a perfectly timed silhouette, a mood suspended between nostalgia and modern city life. Regularly featured within the 1X community, Yuzo crafts photographs that feel both precise and deeply personal—built on patience, pre-focus, and a sharp sense of composition.

In this interview, he shares how weather and light shape his routes, why he relies on a Leica M for street work, what Venice taught him about texture and narrow alleyways—and how revisiting his archives helps him uncover forgotten images that often become the missing pieces of a stronger series.

From First Steps to Personal Vision

How did you become a photographer?

Even before I started photography, I was drawn to art, design, and music. But as the eldest son, I was expected to take over my father’s business, so I set aside the idea of pursuing art professionally. I went on to grow that business, yet I still wanted a meaningful way to stay connected to art through a true passion. I felt I was too old to master painting or a musical instrument from scratch, but photography was something I knew I could keep practicing—and enjoying—for many years.

When I was younger, I shot with film cameras, but I took a long break to focus on tennis. I returned to photography about ten years ago. At first, I tried to recreate famous landscape images, but that often means revisiting the same places again and again, waiting for perfect conditions. With so many photographers competing for the same small viewpoint, the atmosphere can also become uncomfortable. And even after all that effort, the results rarely feel different from what already exists. I realized I wasn’t creating anything truly my own.

That’s when I shifted to street photography. There are no crowds of photographers, and you can make unique images simply by chasing light, shadow, and composition. There’s no waiting in line—you can shoot even if you only have 30 minutes. Beyond basic etiquette, there are no rules. You’re free to develop your style in your own way.

My favorite photographers are Saul Leiter, Fan Ho, and Rinko Kawauchi.

What are you trying to capture or express through your photography?

I focus on capturing scenes from everyday city life—those fleeting moments most people walk past without noticing the beauty in them. I want viewers to think, “There’s so much beauty around us,” and to feel the composition and emotion that might otherwise slip by unseen.

I also hope my images stir bittersweet memories and personal stories we all carry. I’m drawn to nostalgic, cinematic atmospheres, and it’s deeply rewarding when a photograph of mine awakens someone’s own cherished memories—or even their quiet aspirations.

“I hope my images stir bittersweet memories and personal stories we all carry.”

Tokyo in Practice — Routine, Conditions & Gear

What does your typical shooting routine look like?

Where I go depends entirely on the conditions—whether it’s morning or evening light, crisp winter air in Tokyo, spring blossoms, autumn leaves, the sun’s position, and so on.

On sunny days, I seek out places with beautiful light and shadow—museums, for instance, or districts filled with skyscrapers.

On rainy nights (which I especially love), I head to areas where the streets turn into a canvas of colorful reflections.

Cloudy days, honestly… I’m not a fan.

When you go out shooting in Tokyo, how do you choose your gear?

For daytime street photography in central Tokyo, I usually pick three or four lenses from the 18mm, 21mm, 28mm, 35mm, and 50mm range. In the evening, I mostly stick to just the 35mm and 50mm.

For events like festivals, I’ll sometimes bring a standard zoom—or a telephoto zoom—depending on the situation.

You shoot with a Leica — what do you love about it, and how does it shape your street photography?

I still believe the Leica M series is one of the best-suited cameras for urban street photography. It’s compact, quiet, and unobtrusive. M lenses deliver beautiful micro-contrast, a strong sense of depth, and colors that feel both vivid and refined. I even get excited just reviewing images on the rear screen.

In busy city scenes, being able to isolate your subject is essential. I often shoot through glass, and in many situations the rangefinder can be faster than autofocus. There’s nothing quite like pre-focusing, waiting patiently, and capturing a decisive moment the instant the right person steps into the frame.

You recently traveled to Italy. From a street photography perspective, what differences struck you most between Venice and Tokyo?

I’m especially drawn to texture—water, timeworn stone, wood, metal—and to narrow alleyways. Venice has all of that. You can weave canals into everyday street scenes, and because the pathways are so tight, there are no cars. It’s an environment that perfectly matches what I love to photograph.

Tokyo has its share of narrow alleys too, but nowhere near as many as Venice. In return, Tokyo offers a much wider range of settings and atmospheres.

Building a Cohesive Series From Individual Frames

You’ve been selected for seven years in the Tokyo Camera Club 3×3 category — a series of nine square-format images sharing the same theme or mood. Do you start with a concept, or discover it afterward by connecting your images?

The 3×3 competition is incredibly demanding every year.

I used to shoot with the 1:1 format in mind, but the results never felt satisfying. Over time, I’ve learned that the strongest series comes from simply collecting the images I truly want to make—photographs that come from the heart—and then shaping the 3×3 through selection afterward.

Could you describe your post-processing workflow—from selecting images to final edits?

I shoot in RAW and do my main editing in Lightroom Classic.

For images I plan to showcase, I run them through DxO PureRAW first, then fine-tune them in Photoshop using Topaz Denoise AI and Topaz Sharpen AI. For portrait work, I also use Retouch4me.

You are a Peakto user. Which features do you find most valuable, and how do you use Peakto in your daily workflow as a photographer?

The “Find Similar Media” feature is incredibly useful—and genuinely fun to use. It often helps me rediscover older images I’d completely forgotten about.

What photography communities, clubs, or events are you involved in, and how do they influence or support your work?

I’m involved in a few photography communities and groups that continue to shape the way I see and work:

1x (Professional Member)
JLUG (Japan Leica Users Group)
Tokyo Camera Club

Seeing the work of other talented photographers is deeply inspiring—and constantly educational.

What advice would you give to a young photographer who is just starting out—especially someone interested in street photography?

Connect with experienced photographers—you’ll learn an incredible amount, from gear choices and shooting techniques to locations you might never have discovered on your own. And spending time with truly great work will keep you inspired—and constantly pushing to grow.

To see more of Yuzo Fujii’s Tokyo street photography, you can follow him on his Instagram.

Photo credit: © Yuzo Fujii

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Fragments of Humanity in Portraiture with Andrea Angrisani

The ShotVoice Team — Mon, 02 Feb 2026 14:15:08 +0000

Andrea Angrisani photographs people the way most of us experience them in real life: quietly, without interruption, and with deep respect.

From one country to another, he slips into the rhythm of everyday life and brings back something rarer than “travel images” — small fragments of truth: a glance, a gesture, a moment of kindness. His portraits are minimally altered, intentionally imperfect at times, because authenticity matters more than polish.

In this interview, Andrea shares what drives his humanist approach, how travel and culture shape his eye, and the practical choices that help him stay discreet while letting the story lead.

A Portraiture Journey with Andrea Angrisani: Bridging Cultures Through People

What first sparked your passion for portraiture and photographing people across diverse cultures? We’d love to hear more about your journey.

With my photographs, I want to show the beauty of humanity, which I believe lies in the diversity of people, the colors of cultures, and the small imperfections that make each person unique and unrepeatable. Thus, with my photographs, I try to build bridges to other cultures. My photos invite the viewer to reflect, to recognize themselves in others, to rediscover the wonder in the small, everyday things. So, shot after shot, I try to give the world small fragments of life, demonstrating that humanity, despite everything, remains extraordinarily beautiful.

“I try to give the world small fragments of life, demonstrating that humanity, despite everything, remains extraordinarily beautiful.”

You still seem to be proud of your origins, how have your hometown of Bologna and your Italian identity influenced your work, and how do they continue to shape it today?

Actually Bologna isn’t actually my hometown, I feel it as if it were, living here for over 30 years. Bologna is a wonderful city with a vibrant cultural scene and constant intellectual stimulation, which have undoubtedly influenced me artistically. Furthermore, the presence of its ancient university also gives it an increasingly cosmopolitan spirit that fosters the fusion of different artistic styles and languages.

Stories, Travel, and Immersion Beyond the Tourist View

You’ve traveled to many countries, yet your images often capture people with a sense of universal human simplicity. Is that an intentional choice, and why?

Absolutely, capturing a sense of universal human simplicity in my images is a very intentional choice. By focusing on simple, honest moments, I hope to highlight the common thread of humanity that binds us all together. I believe that in these moments—whether it’s a quiet smile, a candid glance, or a gesture of kindness—we see ourselves reflected in others, making the world feel a little smaller and more connected. My goal is to create images that transcend cultural or geographic differences, inviting viewers to relate to the subjects on a deeply human level.

“By focusing on simple, honest moments, I hope to highlight the common thread of humanity that binds us all together.”

Your photos and accompanying descriptions seem to tell stories, capturing the soul and life of your subjects. Do you see yourself more as a storyteller or as someone with an educational purpose in mind?

My intent is to invite people into the stories behind each image, allowing them to connect with the subjects on a deeper level. Otherwise, the risk is that viewers will limit themselves to an aesthetic judgment of the individual photograph, understanding little of the story of the people behind it.

As both a tour leader and photographer, what draws you to a new country, and did one role inspire the other?

As a photographer, what draws me to a new country is the opportunity to experience cultural traditions different from our own and to capture unique and authentic moments through my camera. I’ve always tried to immerse myself more deeply, seeking out interesting stories or situations beyond the typical tourist experience, and that’s what I do when I lead tours as well.

Discreet Portraits in Real Life: Gear, Consent, and Cultural Challenges

If we take a step back, what first led you to become a photographer? Do you have any personal stories you’d like to share?

As a child, I occasionally played with my father’s old camera and was curious to understand how the light meter and manual focus worked. A few years later, I received my first film camera as a gift, and I began taking photos during vacations and at every special occasion. From that moment on, my passion for photography grew daily.

You often capture spontaneous portraits. What type of equipment do you rely on most for these shots, especially when you need to stay discreet?

I always use my DSLR camera because I believe you should focus more on the human connection than on “invisible” equipment. Most of the time, people are so focused on their own activities that they aren’t disturbed by my presence. Other times, they might stop to say hello and exchange a few words, but after a while they go back to what they were doing, and at that point it becomes very easy to photograph them. There are also times when people make it clear they don’t want to be photographed, and that should be respected.

What’s the most challenging cultural situation you’ve faced while photographing abroad, and how did you handle it?

In Africa, some people who still live in tribes have become accustomed to being paid to have their photographs taken. For this reason, besides being extremely difficult to take candid photos, even just walking around with a camera in hand was stressful because, as soon as they saw it, I was immediately surrounded by dozens of people insistently asking to be photographed in exchange for money. The solution was to stay overnight in the villages with them for several days, so that they could get used to my presence.

Minimal Editing, Smart Organization and Advice for Young Photographers

As we said, your work feels raw and authentic. Do you make extensive edits in post-processing? If not, what is your intention in keeping them as they are? If yes, what do you aim to express through these edits?

I believe photography must absolutely convey the feeling of being real, and to be believable, sometimes even the presence of some imperfections is acceptable. For this reason, I perform limited post-production in Lightroom, improving the brightness or colors of a shot, or little else, but I avoid more invasive edits because I believe they would somehow falsify the photograph, making it appear as if it were something it isn’t.

Furthermore, if today we seek perfect images, it no longer makes sense to travel halfway around the world to take photographs and then correct them at home with extensive post-production. Artificial intelligence-based image generation could be used to achieve even better results.

When you return from a trip with thousands of photos, what’s your process for organizing them? Do you follow a specific system or let it evolve naturally?

When you have thousands of photos to organize, it’s essential to be well organized, otherwise it becomes very difficult to find a specific picture. Every photographer has his own needs, and for this reason, I don’t believe there’s a single method that’s better than another; you just need to have your own. Personally, I divide my photos into folders for each place I took them and add specific tags to the most interesting ones, making it much easier to find photos even if they were taken many years ago.

Do you have any recommendations for solutions that help you manage and run your photography business?

Every photographer has their own way of thinking and managing. My advice, however, is to periodically reflect on your weaknesses and then try different solutions to address them. Fortunately, today there are several tools and solutions that help simplify and improve your workflow and business. I occasionally try new software because there’s always the chance of finding the right one for your needs.

For example, I recently started using Peakto software and I have to say it exceeded my expectations regarding image search by keyword and integration with Lightroom.

Finally, what advice would you give to a young photographer who dreams of capturing street life and everyday moments around the world?

The main advice is to train your photographic eye by observing the pictures of the most famous photographers and trying to understand how they handled light, composition, and what made them special. This is the foundation for understanding how to improve your technique, especially at the beginning. Then you need to shoot a lot and especially observe the bad photos to understand your mistakes and avoid repeating them in the future.

To see more of Andrea Angrisani’s portraiture and travel photography, you can follow him on his Instagram.

Photo credit: © Andrea Angrisani

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Exploring the World Through Adventure with Maud Bosco

The ShotVoice Team — Thu, 05 Sep 2024 14:04:09 +0000

How does one become an adventure photographer? How do you capture those unique moments that reveal the raw beauty of nature while conveying an authentic emotion? Maud Bosco, a passionate adventurer and photographer, takes us into her world where each image tells a story, a moment suspended between sky and earth, light and shadow.

Maud Bosco grew up surrounded by breathtaking mountain landscapes, and this closeness to nature sparked a fascination with starry skies and majestic panoramas, leading her to invest in her first camera in August 2021. Since then, she has continued to capture the beauty of the peaks, both day and night. While her images transport us to distant lands, Maud aims to convey a message of respect and humility towards nature. For her, each photograph is a tribute to the power and beauty of the world around us. Through her journey, Maud inspires all those who dream of making adventure photography their way of life.

Join Maud Bosco in this photographic adventure and discover her tips for capturing the essence of travel while fully embracing each moment. Whether you’re an aspiring photographer or a seasoned adventurer, this interview is an invitation to explore the world with a fresh perspective, that of an explorer in search of authenticity.

The Art of Adventure Photography: The Story of Maud Bosco

Could you tell us your story, and specifically how you became an adventure photographer?

I grew up in the mountains, in the southern Alps, so I was always surrounded by a remarkable natural environment. When I started going on overnight bivouacs, I was truly amazed by the starry skies you can see in the high mountains, and that really inspired me to invest in some gear to capture it. In August 2021, I bought my first camera and began photographing my mountain outings, both day and night.

What are the most memorable destinations you have photographed, and why?

Every trip has been memorable, but I would say that Indonesia was probably the most impactful, mainly because of the sense of escape and, above all, the breathtaking landscapes.

I had the chance to visit several islands, including Bali, Java, and Sumba. Seeing active volcanoes up close, like Bromo, Ijen, or Merapi, was truly an incredible experience. You can feel the danger, yet it’s so awe-inspiring at the same time! Whether it was the waterfalls, volcanoes, or rice fields, everything was a feast for the eyes. Adding to that, the kindness of the locals brought even more charm to these places.

Our trek on Mount Rinjani in Lombok, Indonesia, was a particularly memorable experience for me. We were accompanied by guides, two brothers who were both funny and kind, along with a whole team of porters for the gear and food. The evening around the campfire was fantastic, watching the stars and Mars, which I saw with the naked eye for the first time! It was a wonderful encounter with admirable and humble people. I am deeply grateful for those moments; they remain an exceptional memory for me.

Living there for two months was a truly profound human and artistic experience that left a lasting impression on me!

How to Choose the Right Equipment for Adventure Photography: Tips and Tricks

Organization and equipment selection are crucial when traveling. How do you prepare for a photography expedition? What gear do you use during your trips? Are there any specific considerations to keep in mind when using a drone?

Preparing for a photography expedition usually involves identifying the locations that inspire me. I often check Instagram to see what stands out for the destination in question and use Google Maps to pinpoint spots that seem photographically interesting. Conversations with other photographers can also be helpful to get advice on lesser-known locations.

As for equipment, the weight of the bag is a key factor, so I always try to keep it as light as possible, even when choosing my camera gear. I bring my Sony A7IV with two lenses (24-70mm f/2.8 GM II + 70-200mm f/2.8 GM II) and my drone (DJI Mini 3 Pro), which I selected for its light weight and compact size. For the drone, it’s important to check in advance which areas are permitted or restricted, and I always make sure to bring three batteries to avoid running out of power.

“The weight of the bag is an important factor, which is why I always try to keep it as light as possible.”

What is your approach to enjoying your travels while ensuring high-quality photos?

It hasn’t always been easy because, as I love the soft light of sunrise and sunset, I often end up sacrificing some sleep. Fatigue sets in, making the trip less enjoyable and affecting everything, including creativity.

Now, I try my best to choose between sunrise or sunset to protect my health and fully enjoy my travels. I also make sure to schedule some time without taking photos, just to immerse myself in the culture or the moment.

“Now, I try to choose between sunrise or sunset to protect my health and make the most of my travels.”

Do you have any tips to share for capturing spontaneous and authentic moments while traveling?

Not having too many expectations might be the best advice. Capture what comes naturally if the moment strikes and inspires you. Very simple and unplanned photos often carry more emotion because they were taken in a moment without any pressure, where living in the moment was the priority.

Securing and Editing Your Photos While Traveling: Maud Bosco's Workflow

How do you organize yourself while traveling to securely and efficiently manage your photos?

I always bring my laptop and one or two external hard drives with me to back up my photos each evening. Organizing the files into folders on a daily basis helps me stay organized by the end of the trip and also spreads out the workload, which can sometimes be tedious depending on the number of photos.

What software and tools do you primarily use for editing and retouching your photos? Could you describe your editing process in detail?

I use Lightroom and Photoshop depending on my needs. Lightroom is mainly for basic adjustments related to lighting and color grading, while Photoshop comes into play when I need to refine certain details in a photo to give it the desired impact.

As for my editing process in Lightroom, it varies depending on the photo and my creative intent at that stage, but some constants include working on the lighting (I generally reduce highlights, blacks, and whites), adjusting the colors (I like to slightly desaturate the colors or, conversely, saturate certain ones to make them stand out more), adjusting the effect (I slightly reduce clarity), and color grading, focusing on the complementarity or consistency of colors between highlights and shadows. I also use masks extensively to highlight specific parts of the photo. I use the brush tool for details, object selection for larger areas, and gradients for bringing in light or darkening certain zones, for example. Everything comes down to subtle adjustments in each setting.

You share your travels and work on Instagram. How important is this social network to you? Do you place a lot of emphasis on the aesthetics and consistency of your feed?

Instagram is truly a showcase for my work, so I place a lot of importance on it, as it’s usually how people reach out to me. For me, the feed reflects a specific aesthetic that is unique to my work, which is why maintaining consistency is important.

Beyond that, I’ve built a genuine community on this platform that I deeply value. My biggest supporters are here. It’s a great opportunity to connect with people who share the same passion and sometimes the same perspective on things.

The Challenges of a Passion: The Journey of a Landscape Photographer

Through your images that transport us, what message or emotion do you wish to convey?

In landscape photography, I strive to capture the beauty and power of nature, almost as if to restore the place it should hold in our eyes. We are nothing without it. We need nature, but nature doesn’t need us. These spectacular landscapes I try to capture allow me to convey this idea, fostering greater respect and humility in people.

I also love the idea of conveying emotion through my photos. If some of my images can make people dream, transport them, or take them out of their daily lives for just a moment, that brings me great satisfaction!

As a photographer and content creator, what have been your biggest challenges in making a living from your passion?

The impostor syndrome, and consequently procrastination, have been significant challenges for me. I believe our greatest challenge is often ourselves. Certain books and podcasts have been really helpful in this regard because many difficulties are simply in our minds. You have to dare to take the plunge and step out of your comfort zone without striving for perfection. Moving forward imperfectly is always better than staying where you are.

What advice would you give to a young photographer aspiring to start a career as a freelance adventure photographer?

Have confidence in yourself, be bold, and always strive to improve. Experiment, seek inspiration, and create a portfolio that truly reflects who you are and what inspires you. Your passion will be evident and will likely attract people who want to work with you.

It’s also important to surround yourself with people who lift you up, who are where you want to be, or at least are on that path. In short, people who inspire you.

On a more practical note, it’s crucial to consider what this lifestyle entails, as it’s far removed from the comfort of a salaried job, and it may not be for everyone.

Lastly, I believe it’s essential, as with anything in life, to follow your intuition. If this activity excites you, if you lose track of time while doing it, then you may have found something that meets a fundamental need in your life and aligns with your true nature. If you think you would regret not giving it a try, then you already have your answer.

To learn more about adventure photography with Maud Bosco, you can follow her on her website or Instagram.

Photo credit: © Maud Bosco

The post Exploring the World Through Adventure with Maud Bosco appeared first on ShotVoice.

Capturing the Essence of Luxury Hotels with Michelle Chaplow

The ShotVoice Team — Thu, 29 Aug 2024 08:39:55 +0000

As an avid traveller, luxury and historic hotel photographer Michelle Chaplow loved exploring new cultures. In her twenties, she took a year out from her job to journey around central and south America, and then moved into travel photography. Michelle took enormous pleasure from staying in hotels – the architecture, the décor, the history – and the eureka moment came in 2010, when she decided to dedicate the rest of her professional life to capturing the essence of these unique hotels around the world, expertly carving out her out her specific niche. She unveils the behind-the-scenes world of luxury hotel photography.

How to Plan a Luxury Hotel Photoshoot: Tips from Michelle Chaplow

What, in your opinion, makes a successful luxury hotel photo?

Hotel photography is indeed highly specialised and it brings together a number of skills. You need a sound base in architectural photography in order to accurately capture the hotel façade and its interiors, and you certainly need an eye for detail to capture the establishment’s essence. Gastronomy is a key element of the hotel experience which requires another entire skill set, and then there are portraits, especially environmental portraits, for example the chef in his kitchen, or the concierge at his desk. For lifestyle, you need a broad spectrum of skills, and my initial experience as a travel photographer was the perfect training ground. When you are illustrating travel – a guidebook or a magazine feature – there will always be landmark buildings, food, landscapes, and of course, people to capture.

In my opinion, an effective hotel photograph is one where the viewer looks at the image and has the immediate desire to check in to that hotel. A photograph that communicates one message: ‘Take me there!’ As a lover of hotels myself, I can take the viewpoint of the guest, accurately portraying the space with subtly inviting messages. A temptation which leaves them wanting more – most notably, to experience the hotel first-hand.

“An effective hotel photograph is one where the viewer looks at the image and has the immediate desire to check in to that hotel.”

What preparation goes into a typical photoshoot?

Many of our assignments are fairly long projects, lasting five to seven shooting days.

The timeline normally starts between 2 and 6 months prior to the shoot taking place. This length of time facilitates a dialogue: we can listen to the client, who may also be the proprietor, the marketing director, the GM (General Manager), or a combination of all three. Each of these stakeholders will have their own vision of how the images should be, both in terms of content and style, and it is our job to offer guidance on how to achieve them. We have years of experience in planning and carrying out hotel photo shoot assignments.

The first step is when the client compiles a shot list of the areas and aspects of the hotel that need to be photographed; we are often asked for our advice and recommendations at this early stage. The next step is scheduling dates for the shoot and checking the availability of the crew.

When working out what equipment will be necessary for the shoot, the shot list determines this criteria – specific questions such as how many studio lights will be needed, what camera bodies and lenses should be packed. We take around 200kg of equipment wherever we go in the world.

Building a Team for a Luxury Property Photoshoot

You work with a close-knit and highly experienced team. What is their role, and why is it important that you surround yourself with them?

Working with highly qualified, like-minded professionals is fundamental to the success of Hotel Essence Photography. I have worked with my team for years, and loyalty to all crew members is a fundamental core value. One photographer alone cannot carry out large-scale projects. We offer a complete service, bringing with us flexibility and practical solutions developed over years of shoots.

To work at a professional level within a hotel that is open to guests, we have to be exceptionally discreet; careful planning is key. We have a production manager who is in charge of the scheduling to ensure that our presence goes as unnoticed as possible. Additionally, I need a first assistant who is also a qualified photographer with considerable expertise and experience in the field. A key team member is the stylist. When photographing hotels, you are working with bed and table linen, curtains and cushions, and everything has to be perfectly placed and completely smooth (ie free from any creases or wrinkles), and so a good interior stylist is essential. Sometimes our clients may also require video footage, and this will require two further crew members. The whole crew can be between 3 to 10 people, depending on the scale of the project.

When it comes to actually taking the photographs, much unseen preparation and technical expertise goes into the process. This is why many people love the behind-the-scenes footage – they find it a fascinating insight!

Starting Your Own Luxury Hotel Photography Business

How did you secure your first commission in luxury and historic hotel photography?

When I first started out working as a photographer, I was doing travel assignments. I worked for the BBC, the Automobile Association, British national newspapers, and major airlines, illustrating features for their in-flight magazines. I spent a lot of time staying in hotels, and I would find myself looking at their brochures and thinking that the photos did not portray my experience of the hotel; they neither reflected how I felt about the hotel, nor showed off the hotel in its best light. At this point I had a eureka moment: I realized that I could specialize in photographing luxury and historic hotels. How fabulous would that be? I’m still pinching myself.

When I was choosing the name for my company, the essence factor was crucial. It is a lengthy domain name (hotelessencephotography.com), but without the essence, you are just photographing hotels, and not going that extra step to capture the property’s essential spirit and personality.

How did I get my first assignment? Those earliest commissions were editorial features where I shot hotels for a magazine or guidebook. My first projects gave me an introduction into the world of luxury and historic hotel photography and then, as with many professions, things progressed through word of mouth and being re-hired for further projects. In 2010 I founded Hotel Essence Photography and made the jump from travel photography to exclusively photographing luxury and historic hotels.

How do you strike a balance between immersing yourself in the creative process of photography and your role as an entrepreneur leading a team?

The two are actually almost incompatible and I have only managed to make them compatible thanks to years of experience.

In order to improve a hotel’s visual representation through their photographs or ‘digital assets’, it is essential that I and my team immerse ourselves in the creative process, understanding what is required and then delivering on the brief. Hotel Essence Photography has an expert team committed to creating images that communicate the authentic essence of a hotel and most importantly we all really enjoy working together.

Open channels of communication with the various stakeholders – often, the hotel owner, the GM or the hotel’s marketing director – during the shoot is paramount to ensure that all parties are happy with the direction that the project is taking. We shoot sample images onto iPads, which is a great way to give the client and the team an instant view of the specific shots.

Our team is completely dedicated to each project and we work long hours to get the job done; “whatever it takes” is our motto. This requires that I am abreast of what’s happening in front of and behind the camera at all times, but also managing and motivating my team. In the years that I have worked with my team we have solved numerous complex issues in challenging circumstances.

“Hotel Essence Photography has an expert team committed to creating images that communicate the authentic essence of a hotel and most importantly we all really enjoy working together.”

Tales from Luxury Hotel Photographer Michelle Chaplow

What’s the most emotionally impactful and inspiring hotel that you’ve photographed?

There are actually two hotels that spring to mind.

The first story is about photographing the lobby of the George V Four Seasons hotel in Paris. I visited the hotel for a meeting during the spring – the most romantic time of year in the City of Lights. I walked into the George V and was stopped in my tracks by the sight of the lobby decorated with hundreds of peonies. A historic hotel lobby with marble floors, a beautiful chandelier, an antique tapestry behind the reception, and then to top it off, a wealth of stunning pink blooms. It took my breath away, whilst other people walked through the lobby seemingly oblivious to the extraordinary floral display. It was an amazingly impactful experience but also immensely satisfying to photograph.

The second hotel I’ve chosen is Park Hotel Vitznau in Switzerland. A magnificent contemporary redevelopment of a historic hotel that dates back to1903 located on the shores of Lake Lucerne, with unrestricted views across the lake to the Swiss Alps near the chocolate box village of Vitznau. It was a delight to capture on camera.

To date, what has been your most challenging hotel photoshoot?

It is difficult to pin down one hotel that was particularly demanding to photograph, because every property that I and my team have photographed over the years will have presented a conundrum in one way or another. The biggest challenge in general that I have to deal with is the light: the weather can change suddenly and with it the view. A memorable example is when we were photographing the Rock Hotel in Gibraltar and suddenly a sea mist rolled in, shrouding the amazing views from all the rooms and seaview terraces.

There are also other potential challenges such as mahogany furniture that is extremely dark. At the other end of the spectrum, reflections in mirrors, TV screens and shiny surfaces, these are dealt with by using vast panels of black velvet. Photoshoots may also present organisational challenges: you might be photographing a bedroom in a new hotel whose curtains are yet to arrive, so you work with what you have. Shoot the same room from a different angle; there is aways an alternative solution.

“The biggest challenge in general that I have to deal with is the light: the weather can change suddenly and with it the view.”

Equipment and Organization in Hotel Photography

What photography equipment do you typically take on assignments?

In terms of cameras and lenses, for over 20 years I’ve used Nikon equipment, which has never let me down. For lighting I use Bowens products, and Manfrotto tripods and stands.

We carry two sets of almost everything, so we can split into two teams if needed, We carry spares and double spares of critical items, such as battery chargers. just in case. We can’t have the shoot held up for a small but essential piece of kit. In total there are 400 items on our packing list.

What is your workflow for post-production and which photo editing software do you use?

When shooting we write each photo to two SD cards in the camera, one as large backup, and the original card is downloaded to two hard disks as soon as possible. Before departure we check we have three copies of all the RAW photos, with each copy carried by a different crew member for security.

In terms of post-production workflow, we download the work to between 50 and 100 folders of photographs in Adobe Lightroom. We identify the bracketed ‘runs’ by colour code, one of which will form the bast of the finished image. We use a combination of Adobe Lightroom and Photoshop to process the images.

Some final images will have to be rebuilt from component parts to increase the dynamic range. Often you need to step back from an image and then return to it with a fresh eye in order to achieve your aim. On other occasions, you may only need a few minutes to get the result you want.

How do you manage your photo archives?

All of my photographs have a sequential number which will include my initials, the year when the photograph was taken, a number specific to the assignment, and a sequential number. I also try to keyword the photos to make retrieval easier. I don’t think there is a photographer in the world with a perfect archival and retrieval system.

Has the importance of photography for luxury and historic hotels changed since you started?

Yes, it has changed significantly. Advancements in technology mean the standard of photography has improved considerably and, consequently, expectations for the quality of a hotel’s images have also increased. This is particularly true for the luxury and historic hotel sector, which caters for an extremely specific clientele. Additionally, the increasing importance of online booking has also contributed to this increased importance, as prospective guests typically receive their first impression of a hotel from the first few images that they glimpse on the internet. That initial impact will also likely be a lasting one, and a hotel’s visual/digital representation is therefore hugely significant, now more than ever.

Michelle Chaplow's Advice on Becoming a Professional Photographer

What advice would you give to a photographer who wants to become a professional hotel photographer, serving clients in luxury hospitality?

The first thing to do is ask yourself whether you are passionate about the client’s luxury brand and services. If the answer is yes, that feeling will come through naturally and you will create better images as a result. You need to immerse yourself in understanding what the luxury brand stands for and its values, so that you can visually communicate this through images.

What advice would you give to an aspiring photographer who wants to turn their passion into a business, just as you did?

Follow your heart, carve out your niche in the market, learn as much as you can. You can never know everything about photography, so take as many courses as you can, mingling with like-minded people – find your tribe. Be open to any opportunities that may arise.

What gives you most satisfaction about your job as a luxury and historic hotel photographer?

I love history and historic preservation and feel privileged that the images of the hotels that I photograph today, even the contemporary ones will eventually form part of their historic archive of tomorrow, to be enjoyed and used as a reference – and hopefully an inspiration – in the future.

Continue to explore the world of hotel photography with Michelle Chaplow by following her on her website or on Instagram.

Photo credit: © Michelle Chaplow

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Freezing Moments in Sports with Photographer Mine Kasapoglu

The ShotVoice Team — Wed, 24 Jul 2024 10:09:13 +0000

How do you photograph sport? How do you capture the perfect instant, a thousandth of a second, the quintessence of sporting effort, between power and solemnity? Mine Kasapoglu is undoubtedly one of those photographers for whom photography is much more than a visual medium or an illustration. Like the hunter who waits, holed up in a bush, for hours before capturing his prey, Mine’s photographs are the result of hours of patience before being able to capture the moment, the angle, the perfect shot.

From top-level athlete to trainer to sports photographer, Mine’s career shows a lifelong passion in all its different forms. Through her breathtaking work, Mine takes us on a journey, allowing us to immerse ourselves in a vision of sport that draws on a variety of artistic prisms, addressing both powerful elements like the gush of water or playing on stylistic effects like blur and sharpness to better highlight the physical and mental isolation of athletes. With the upcoming Olympic Games, we wanted to find out more about the experience, vision and tools of Turkish photographer Mine Kasapoglu.

From Being an Athlete to Becoming a Sports Photographer: Mine Kasapoglu's Journey

Could you share with us your journey and explain how you became a sports photographer? What attracts you the most to sports photography?

I have always done sports. I grew up skiing and playing tennis. I discovered photography classes in college. It wasn’t digital at that time, only black and white. In the darkroom, I fell in love with watching images come to life. Creating photos from scratch with light and silver was magical. Sports and photography were initially two separate passions in my life, but both brought me immense joy.

Although I studied economics and graduated at 20, I only wanted to pursue photography. My friends and family thought I was crazy, but I was determined. Looking back, it was a courageous decision, and I’m proud of my younger self. I’ve now been a professional photographer for 25 years.

My first significant job was as a photo intern for the Salt Lake Organizing Committee for the Olympic Games. It was an incredible introduction to the photography world, allowing me to work on everything from sports to portraits. We were still using film, so I handled running, scanning, retouching, and archiving. It was an invaluable learning experience.

I started with sports photography in Salt Lake. Afterward, I moved to Paris for a year to attend a sports photography school. It was incredible to be with others as passionate about photography as I was. Americans pump you up. They’re like, “You’re awesome, look at you go!” You get used to it, and then you go to France, and they rip you apart. So I had to really get through that. My confidence came back up after. In the beginning, it was kind of a shock.

“In the darkroom, I fell in love with watching images come to life. Creating photos from scratch with light and silver was magical.“

I attended photography school because I only had a minor in it from university. As the world was going digital, I wanted to improve my skills. Afterward, I moved to Istanbul and worked for magazines like Vogue and Elle, doing portraits.

My heroes were photographers like Annie Leibovitz. Vanity Fair, I would swallow it for the pictures. I admired powerful portraits of interesting people. Now, with AI, I value the authenticity of real portraits even more.

When I moved back to Turkey, I resumed racing. While in the US, I taught snowboarding and never left the mountain. When I went back to Turkey, I started competing in national championships. In my first year, I got third place. I thought, ‘Okay, I’m still good.’ From 2006 to 2010, I was racing and tried to make it to the Olympic Games representing Turkey in snowboard cross, but I was far from qualifying. During this time, I balanced photographing for magazines and other jobs. Although I wasn’t primarily a sports photographer, I loved the Olympic Games and attended Salt Lake, Athens, Torino, and Beijing. I worked on everything from stills to movie sets, doing whatever I could find.

In 2010, I got pregnant, so I stopped racing and was coaching kids. But at the time, I really missed the feeling of the sport, and I made a very clear decision: “I’m only doing sports photography because this is what I love”. So as soon as I stopped racing, I wanted to do skiing, snowboarding photos, and winter photos because that’s where my love was. Before, just being on the mountain was enough, but after I stopped racing, I needed something more. I began shooting my friends and the Turkish national team at World Cups in Turkey.

From 2010 to 2014, I managed two babies and only kept my Vogue job and the Olympics, turning down other work to focus on being a mom. In 2015, I committed fully to being a sports photographer, wanting to be with athletes.

Do you believe your sporting experience has influenced your perspective on photography? and how do you view sports as a means of storytelling through your photos?

I think athletes feel that I come from sports. Even though I was never as successful as the athletes I photograph, I know the basics. I’m always on the athlete’s side. I don’t really care about what clients or anyone else thinks about my pictures as much as the athletes do. I work for the athletes, and this also works well with clients because sponsors want to work with someone the athletes like.

My dream is to take pictures that wow the athletes, making them see themselves as superheroes. I feel like their big sister, taking care of them and earning their respect. They sometimes share their secrets with me, and if I don’t see them around, I’ll check on them to make sure they’re okay.

I’m not just there to document; I focus on the positive. If an athlete falls or doesn’t look good, I won’t send that photo. I’m a biased photojournalist, but in a positive way.

The Work of Mine Kasapoglu: A Profound Tribute to the Power and Energy of Sport

What specific challenges do you face as a sports photographer compared to other genres of photography? How do you manage them?

It’s a very physical job. You carry so much equipment. I saw this wedding photographer give a talk, and she said, ‘I use the 50 and the 85.’ I thought, ‘What does your bag look like?’ I have to carry so many lenses. I need to have three cameras ready: a wide-angle, a 70-200, and a 400 with a monopod. When you see a photo I took, it’s the result of blood, sweat, and tears. I climbed a mountain, waited for two hours, and then took the shot. It’s physically demanding, so you need to be fit both physically and mentally.

I love what Cartier-Bresson said, ‘The eye, the heart, and the camera line up.’ I try to see with my heart. When something moves me, I want to capture it. A good picture happens when the subject and I connect for a moment. It’s like I’m in every photo with my heart and feelings. Of course, during a shoot, not every frame I take has this magic, but it’s about warming up, taking out the camera, watching what’s going on, and then something sticks out. Something’s different, something interests you, like the way someone does something or how the lines come together. I try to find a good background and something interesting happening in front of it. If you open your heart and practice a lot, your camera becomes an extension of you. You know every button you need. Experience helps you react quickly and be in the moment. You work together with your equipment as one.

“I try to see with my heart. When something moves me, I want to capture it. A good picture happens when the subject and I connect for a moment.“

What is your approach to capturing the essence of sports and conveying the energy and excitement through your photographs?

I’m a positive person, especially around sports and athletes. I glow with positive energy, and I think that’s why it attracts more energy. The love I get from athletes adds to that. For example, a swimmer once told me, ‘When you photograph me, I swim faster.’ I thought, ‘Wow! That’s so cool!’ Positive feedback like that motivates me. When they appreciate my work, it creates a cycle where we feed off each other’s energy, resulting in better pictures.

I never want to photograph someone who doesn’t want to be photographed. It has to be mutual. Some athletes have become my muses, making me a better photographer. Just like they say they swim faster, and whether it’s true or not, it’s nice to hear.

Capturing Sports Through Photography: Production and Career Special Stakes

Can you tell us about the planning and preparation required before a major sporting event?

For example, I’m going to photograph the Formula 1 Austrian Grand Prix at the end of the month. For Formula One, I watch ‘Drive to Survive’ on Netflix because it’s really important to know the characters. When I’m walking through the paddock, I need to know who’s who and understand their stories. Every sport becomes more interesting when you know the characters, stories, rankings, and history. It’s essential to know the rules and look at some pictures for inspiration. However, I try to look at the pictures well before race day because if I look at them during the event, I might unintentionally replicate them. While it’s good to be inspired, I also want to ask myself, ‘What would I do?’

It’s especially important to see a few pictures when you’re photographing a sport you don’t know well. For example, I know swimming and swimming strokes very well, but if I were to photograph judo, I wouldn’t know the right moves. Knowing the specifics of the sport is crucial. Talking to a photographer who specializes in that sport is very helpful, as they have valuable knowledge. However, there’s also an advantage in seeing something for the first time because it brings a fresh perspective. For instance, someone new to swimming photography might capture something unique that I wouldn’t have thought of. There’s a magic in seeing things for the first time. Doing the same thing repeatedly can lead to falling into a cycle.

I love discovering new sports. It keeps things exciting. I could easily focus on one sport, but I love exploring different ones. I really love all kinds of sports.

Are there specific aspects of photo retouching that you find particularly crucial during the post-production of sports images?

I don’t use presets; I create each edit fresh every time. I always shoot in RAW and then fix the white balance. Maybe having presets would make my work more consistent, but I like the flexibility. Sometimes my photos have a blue tint, then I get tired of it and add more color, and occasionally, I’ll do black and white—though rarely, even though I love it.

I don’t have set rules. I shoot in RAW because it gives me as much information as possible, allowing me to adjust highlights and other details since I use natural light. I appreciate what RAW shooting can bring out in an image. I don’t use AI-generated edits or anything like that. The most I’ll do is remove a pole in the background, some trash, or a few pimples—just minor skin retouching to make them look their best. Overall, I keep post-production simple.

Do you organize your archives?

No, you should see it—there’s a big suitcase of hard drives at home, and it looks ridiculous now. Every year I have at least five terabyte hard disks, with dates labeled like 2021-1, 2021-2, and so on. It’s just a suitcase full of hard drives. The best of my deliveries are on the cloud, so I have the top pictures there, but I never delete anything I shoot. During COVID, I went through all my photos from 2012 to 2020, starting with the 2012 London Olympics. With so much time on my hands, I reviewed each day from scratch and made completely different edits. I found so many new pictures. It made me feel good that I kept everything because one day, I can do the same for the 2016 Rio Games. Maybe I won’t re-edit every event, but having that time was fun.

What advice would you give to those who want to start in sports photography?

Advice? Find what makes you excited because if something excites you, there’s a good chance it will excite others too. Be authentic. Don’t copy other sports photographers; that’s not exciting. Focus on what truly makes your heart race when you see it. For me, it’s simple: I love these athletes and want to make them look like gods. Simple backgrounds, beautiful athletes, and little magic moments—that’s what I love. I took a picture yesterday that I can’t stop looking at. I’d show you, but it’s huge—50 megabytes. You can see the speed, the energy… it excites me.

Excitement is contagious. If you’re passionate about something, it shows. Even if others don’t understand it at first, your passion will draw them in. For instance, if someone loves taking pictures of door frames, it might seem boring to me. But if they explain the colors, the cultural significance, and the details with passion, I could get excited about door frames too. Passion is contagious, and true excitement matters most.

“Find what makes you excited because if something excites you, there’s a good chance it will excite others too.“

Extend this moment with Mine Kasapoglu by following her on her website or on Instagram.

Photo credit: © Mine Kasapoglu

The post Freezing Moments in Sports with Photographer Mine Kasapoglu appeared first on ShotVoice.

Poetry of Food Photography with Isabelle Smolinski

The ShotVoice Team — Fri, 05 Jul 2024 13:46:21 +0000

What drives a photographer to capture the perfect culinary moment? How do they transform the primal act of eating into an exquisite visual experience? For Isabelle Smolinksi, culinary photography is an intricate art form that goes beyond simple documentation. From an early love of still life painting to a profound appreciation for gourmet cuisine, the French photographer has cultivated a unique perspective that turns everyday food into stunning art. This passion, coupled with a gourmet’s palate, led to a career dedicated to showcasing the raw beauty and simplicity of food.

Isabelle Smolinski believes that food photography is about making something primal beautiful, seeing it as a priceless gift, and capturing its essence in the most artistic way possible. In addition to their culinary expertise, she draws parallels between floral art and food photography, both of which celebrate the vibrant gifts of nature. Their edible plant compositions often resemble the rich, detailed still lifes of Flemish painters, highlighting the extraordinary in the ordinary.

Through her lens, Isabelle Smolinski also brings to life the dynamic world of chefs and their culinary creations. They capture the transformation of simple ingredients into intricate dishes, the artistry in the chefs’ movements, and the beauty of the final plated masterpieces. This approach not only showcases the dishes but also honors the craft and creativity behind them. Cyme sought to explore the insights and techniques of her work throughout this interview. Join us as we dive into their journey, discovering the passion, artistry, and innovation that define their work in culinary photography.

Going Beyond the Essence of Food: Isabelle Smolinski's Exploration of Culinary Beauty

Your culinary photos show both the beautiful dishes and the chefs at work. What do you love about this culinary craft?

Watching chefs create and seeing the transformation they can achieve with edible elements is something I find fascinating. From a rather shapeless, muddy potato, they can transform it into a cute little mousseline potato, light and perfectly round. The way chefs interpret edible elements fascinates me. The gestures, the technical movements around the food, allow for the creation of true sculptures. The great chef Antonin Carême (1783-1833) had planned to become an architect, but since he couldn’t fulfill that dream, he became a chef. He is the one who created elaborate cakes and pièces montées, developing desserts that are true architectural marvels. It’s truly a feast for the eyes to capture such individuals in images.

You love floral art. Does it have anything in common with culinary photography?

For me, floral art is enjoyed with the eyes, just like culinary photography. We already take pleasure in looking at what’s on our plate. Seeing a landscape means appreciating the colors and the various textures. We find this similarity in the plants we eat and those that adorn our living spaces and gardens. Both are gifts from Mother Nature, emerging from the earth to reach us.

Do you have to be a gourmet to take good food photos?

Being a foodie can be an asset for taking great culinary photos, but it’s not the only factor. You need to be sensitive to shapes, find lines of force in the composition of the photograph, and identify the best angle for the subject. Imagine a calf’s liver, for example—it’s not inherently attractive, but making it look appetizing is a challenge. You need to find the right angle and apply the perfect lighting to make it appear lively and expressive. It’s a matter of line, shape, and color harmony. It’s not just the taste buds at work in photography; the eye and sensitivity play crucial roles too.

“You need to find the right angle and apply the perfect lighting to make it appear lively and expressive”

In your edible plant compositions, you marry the two and recompose your photos. Your photographs are reminiscent of the still lifes of Flemish painting. How did you arrive at this mode of creation?

In my edible plant compositions, the flowers alongside the fruits and vegetables are edible. Everything in my photography is meant to be eaten. The idea was to take each of these little elements, which are quite common. A calendula flower or a pea is very ordinary, but if you take the time to look at them and appreciate their true value, they can be seen as little jewels, something exceptional.

Smolinski's career path : from passionate photographer to profession

What drew you to food photography?

As a child, I loved painting, and I was particularly interested in still life painting, which depicts flowers as well as fruit, vegetables and edible foods. I think that this was the first step towards food photography. Then, the second step was that, being a real gourmet, I could only go in that direction. For me, food photography is really about making something that’s primal beautiful. Eating is a primary need. To take the time to see this essential thing in all its beauty, to perceive it as a priceless gift, to feel something beautiful yet raw and simple.

“For me, food photography is really about making something that’s primal beautiful.”

How did you come to meet great chefs like Anne-Sophie Pic, the three Michelin-starred French chef?

How do you go about working with chefs on culinary photos?

We discuss the dish and present the tableware in advance before the plate is assembled. Then, I suggest a location if a background is needed. We discuss the decor if necessary. All of this is prepared before the plate is assembled: we choose the place where the plate will be set to create the entire ambiance around it. For close-ups, I can guide the chef if needed to ensure the elements are not too spread out and are arranged in the most visually clear way for the photograph.

How do you see your profession evolving?

I’m not very optimistic. I started working in 2005, and since then, I’ve seen photographers’ prices drop and the number of commissions fall. Now, with the arrival of AI, it’s clear that there will be fewer orders for photographers. Sometimes, images can be created from start to finish very quickly with computers, without the need to set up a photo studio or go styling or shopping to create a setting or environment, especially in still life or food photography.

Culinary photography: what equipment? Which technique?

What kind of equipment do you use?

I use a Nikon D810 with two lenses. I have a 24-70mm, a versatile lens with which I shoot reportages, full-body or closer portraits, and also close-up shots like plate photography. For plate shots, I prefer to use my 50mm fixed lens. I have a flash sync lighting system that allows me to manage the lighting. I have two light sources, on which I place boxes to diffuse soft light, or bowls with honeycombs to achieve a more directed, sharper light with slightly harder shadows. I also use different silver or white reflectors that allow me to rotate the light around my subject, lighten darker areas, and shape the light as I wish. I work with a tripod most of the time for culinary photography, but not always. I even remember a photo session at a restaurant where I photographed the chef working in his kitchen. It was during the pass-through between the kitchen and the dining room, and I had 30 seconds to take the photo.

Apart from your floral arrangements, how do you retouch your photos?

For my retouching process, I shoot in RAW format, which I open directly in Photoshop. Photoshop launches an application for developing NEF files [Nikon Raw Image file], allowing me to manage exposure, contrast, light or dark tones, color temperature, and saturation. I make slight adjustments, and then my NEF file opens in Photoshop. There, I create adjustment curves to manage contrast, soften the image and clogged areas, and add detail in places where highlights have removed too much detail. I sometimes rework the color temperature of specific elements, such as enhancing the greens in a bouquet of flowers to restore freshness. I save my file in PSD format because I work with different layers, enabling me to revisit and refine the retouching using blending modes for greater detail and finesse.

After a photo shoot, how do you go about saving and filing your photos?

After a photo shoot, I edit by making an initial selection of images, which I often refine with a second round to choose the most expressive, characteristic, aesthetic, and meaningful photographs. I then retouch them in Photoshop and add keywords via Bridge, the software I use to organize my files and photos using a keyword system. Finally, I save all my work in a folder organized by dates and themes.

What advice would you give to a young photographer starting out?

If I had one piece of advice to give to a young photographer starting out, it would be to have more than just photography as a professional activity. This way, you can feel comfortable creating your own images and projects, whether personal or commissioned, while having a safety net until you are established in the profession. It’s important to have a network of people to help you set up projects. I’m thinking of the Union of Professional Photographers (UPP), which has created questionnaires and gauges to assess photographers’ financial status. Recent surveys can give you an idea of what the job market looks like in photography today.

Extend this moment with Isabelle Smolinski by following her on her website or on LinkedIn.

Photo credit: © Isabelle Smolinski

The post Poetry of Food Photography with Isabelle Smolinski appeared first on ShotVoice.

The Beauty of Street Portraits with Photographer Jan Armor

The ShotVoice Team — Mon, 08 Apr 2024 09:09:49 +0000

For over thirty years, Jan Armor has been a fine art photographer and an educator, passionately sharing the world as he sees it. In his series “The Invisibles,” he captures the portraits of people in need who frequent the Mathewson Street United Methodist Church in Providence where meals, clothing, and, thanks to him, photos are distributed. Nicknamed Photoman, Jan Armor takes pictures of those who wish to be photographed.

In a world where images of homelessness often depict individuals in desperate and dehumanizing situations, Jan Armor stands out for his compassionate approach. Through his photography, he seeks not only to document the lives of those experiencing homelessness but also to restore their dignity and humanity in the eyes of the viewer. Today, we delve into his perspective, exploring his motivations, techniques, and the profound impact of his work.

What inspired you to start the series 'The Invisibles’?

A pastor at a local church asked me to photograph her cadre of teen volunteers at their weekly “home fries cook off,” held on Saturday afternoons. She mentioned these home fries were part of the breakfast served up in a soup kitchen in Providence, RI. She mentioned the effort was called “The Sunday Friendship Breakfast.” I was curious and taken by the name. I called the church where the breakfast was served and asked if I could visit, perhaps take a few photos for publicity. That was about ten years and thousands of photographs ago.

How do you select the individuals you photograph for 'The Invisibles'?

My subjects mostly selected me. During first few Sunday visits I made pictures of busy workers who prepared the breakfasts. These were volunteers from all walks of life… from business men and women to school teachers to physicians to homeless folks living on the street. At later visits I sat with the people while they ate their meal and chatted with them. Some had been coming for this meal every Sunday for years. I soon realized that beyond the hearty breakfast, many of the men and women longed for someone to talk to, someone with a listening ear. So I listened.

Over the weeks many of these folks became friends. They often shared their ups and downs with me. Some asked if I would take their picture. They wanted to send a picture back home to family or friends. I was happy to comply. I would come back the next week with prints for them. This was well received and soon became a popular routine. I became know as Photoman” instead of Jan. I often heard, “Hey, Photoman, would you take my picture please, I want to give it to my Mom?” I never refused.

Your portraits convey a sense of affection for the person being photographed. What message were you aiming to convey to the audience?

I’ve seen many portraits of homeless people often portrayed as desperate, dirty, even dangerous people. Often the photographer has cropped the picture in very tight and cranked up the contrast for dramatic effect. I prefer to create a portrait that my subject would like to keep, perhaps give as a gift. I try to convey my subject’s humanity. That these are real people, just like you and I.

“I try to convey my subject’s humanity. That these are real people, just like you and I.”

How do you think these portraits might impact the individuals you photograph?

I think many of these folks feel invisible to the world. So often we don’t even see them. We step over them or we avoid them on the street. When I make a portrait we usually talk for a bit first. I offer a handshake and a smile, I try to connect, for however brief the encounter, to make my subjects become real. This simple photography experience gives my subjects some manner of self worth. “Hey, I’m not invisible anymore.”

All your photos are accompanied by a brief caption about the person being photographed. What has this work with the homeless at the Mathewson Street United Methodist Church taught you personally?

I’ve realized that for but some twist of fate, there go I. A fire, flood, a loss of job, a sickness, an injury or mental illness, or for so many others reasons, a person can stumble and fall.

How did you become a photographer?

Like so many other photographers, when I was a kid I was mesmerized by the magic picture that slowly appeared in my tray of Dektol as I stood in the glow of my yellow safelight. I knew then and there that I wanted to do this.

What do you enjoy about teaching photography?

I love sharing the joys of this craft with others. And I always learn more than my students in every class I teach.

What type of equipment do you most often use for your shots?

I’ve used many cameras during my career, from 8×10 view cameras to the iPhone. For most of these images my camera of choice is my tiny Panasonic Lumix mirrorless camera. It is very fast, non-threatening and completely silent.

You teach photography courses on iPhone. What do you enjoy about iPhone photography?

Everyone has one in their pocket or purse. It’s easy. It’s spontaneous. And it makes great pictures. Furthermore, there is way more to this little device than meets the eye.

“For most of these images my camera of choice is my tiny Panasonic Lumix mirrorless camera. It is very fast, non-threatening and completely silent.”

Do you extensively edit your photos in post-processing?

I use Photoshop, Lightroom Classic, Snapseed and Procreate, often moving back and forth between all of these applications.

Do you have a specific workflow for importing, organizing, and backing up your photos? Do you use any software or tools for photo management?

I import and keyword my pictures into Lightroom Classic and/or the Apple Photos app. They are stored and backed up on many volumes. The Peakto app has been very helpful. I have rediscover images buried in many places on many hard drives thanks to Peakto.

What advice would you give to a young photographer?

Develop your vision. Study the work of good photographers, living and dead. At the same time learn the craft of photography.

Extend this moment with Jan Armor by following him on his website, on LinkedIn or on Instagram.

The post The Beauty of Street Portraits with Photographer Jan Armor appeared first on ShotVoice.

An Analysis of Photojournalism with Photographer Marie Docher

The ShotVoice Team — Fri, 08 Mar 2024 09:41:35 +0000

Is there a particular way of representing women, especially in the press? This question is part of the concerns that drive Marie Docher. A photographer and filmmaker, knight of the arts and letters in France, she is committed to the visibility of women artists and artists of color. With her collective, La Part des femmes, she wondered if there was a male gaze in photojournalism, leading to a bias in representation.

During an analysis of two major French media outlets, focused on photography, she found that 85% of the 108 portraits in one were entrusted to men, compared to 93% in the other. Does this essential male perspective include biases? How can one detach from it? How has this analysis influenced Marie Docher’s work, and how does she address the question of representation?

This March 8th, International Women’s Rights Day, is a great opportunity to reflect with this photographer who doesn’t hesitate to stir things up, both through studies and her work.

After Analysis, 94% of Press Photos Are Taken by Men

You analyzed the portrait photos in Libération and Télérama. What led you to conduct this investigation, and what was your intention? What are the major insights you gained from it?

During the second lockdown, with my collective La Part des femmes, we analyzed a sample of the French national press and found that 94% of the photos were taken by men. However, photojournalists claim that their perspective is neutral. We wondered if this state of affairs had an impact on our representations. To find out, we chose to analyze two recurring and prestigious photo sections: the back-cover portrait of Libération (daily) and the guest portrait in Télérama (weekly). Our intention was truly to understand whether the predominantly male nature of documentary photography had consequences on representations.

This work allowed us to analyze over 1,000 portraits and to show that there is indeed a real “male gaze.” Laura Mulvey, the British filmmaker, demonstrated that there is a masculine gaze in films, not solely carried by men, but also by women.

“We wanted to know if there was a “male gaze” in documentary photography, in photojournalism, in press portraits. And yes, there is one.”

Did the result surprise you?

No, not really, because there were many aspects that we intuitively understood. Except that here, we actually showed it and even discovered things we hadn’t imagined.

Unstable or Ground-Level Positions Are Reserved for Women, Gays, or Racialized Individuals

You also conduct an aesthetic analysis of these portraits and note similarities in portraits of women. What are these similarities?

We didn’t exactly conduct an aesthetic analysis, but rather an analysis of positions, environments. We noted similarities in certain portraits of women.

For example, when we gathered photos of individuals photographed on the ground or with an extremely dominant viewpoint from the photographer in the same folder, we realized that over 80% of the people photographed were women, regardless of their backgrounds, social classes, or occupations.

And when the individuals photographed are men, then they are gay, or black, or Arab. This indirectly shows that white men do not represent themselves in unstable situations or in positions on the ground. But they don’t hesitate to do so regarding women, gays, and people of color. This happens unconsciously.

Portraits of Men in the Press

On the contrary, what are the representations commonly found in portraits of men?

Straight men photographed by straight men – and also by women – are all quite homogeneous. They are predominantly depicted standing, firmly planted on their legs. Their skin is rarely visible: they do not wear T-shirts, open shirts, or go shirtless. They are in stable positions, in uniform tones of blues, grays, blacks. This is the biggest stereotype – one that we almost didn’t notice -: white supposedly straight men are portrayed as stable men with nothing to distinguish them.

We find this in weddings where women are expected to be elegant, to have colorful, varied outfits different from their neighbor. While all the men are dressed the same.

After the Study, 60% of Portraits Are Made by Women

Your investigation dates back to 2021. Did your analysis make a difference?

Yes, fortunately. This investigation gained visibility, especially thanks to the editor-in-chief of Arrêt sur Images [a paid digital media], Emmanuelle Walter, who suggested doing a program on the subject. None of the photo editors from the two newspapers wanted to participate. Only the photo manager of Mediapart, Sébastien Calvet, agreed. It was very interesting because he has worked as a photographer, as a photo editor at Télérama and at Libération. The program was so well-received that subscribers asked for the video to be made available for free online. The next day, the photo editors of Libération were calling women, people of color photographers left and right to say that it was an important issue for them. The following month, over 60% of the portraits were taken by women… which just shows that it was simply a matter of deciding to change it.

How Stereotypes Persist

Is it through the training of photographers that these stereotypes are perpetuated?

Yes, and not only that. They are perpetuated through everything: advertising, films… In fact, we live in an environment heavily structured by the male gaze, by a dominant male perspective. Even though voices are emerging and public policies are attempting to change things, particularly in cinema. But this world goes in circles because in photography schools, it’s the former photographers who come back to teach and give talks. It’s also cyclical in photo books, as Ingrid Milhaud writes in an article that will accompany the publication of our study around March 13th.

Becoming Aware of Representation Biases

What changes when it's a woman behind the camera, especially when she's photographing other women?

Often not much because women are in the same boat, with the same references. The important thing is to change perspective and be aware of what’s at play, of the relationship one has with the people being photographed, of how one photographs them.

There are women who photograph like men and men who photograph differently. Beyond biological sexes, these are mental representations. Bettina Rheims photographs like a man, as do lesser-known individuals. With this program, women realized that they reproduce stereotypes.

The interest lies in taking a different look at our practices. Since men structurally hold more dominant positions, there are aspects they don’t see, and women should be able to show them differently. The same goes for Black individuals. I see it with the book I made about lesbians. I don’t believe a heterosexual woman or man could have done this work because there are also questions of trust and knowledge that are important and complex.

Co-Constructing Portraits

How has this analysis influenced your work as a photographer?

It has had a major influence. I understood why, for a long time, I didn’t do portraits. I did other things because I was afraid of misrepresentation. I belong to a social, sexual group – I am a lesbian – and, like all those of my generation, I sorely lacked representations. When they existed, they were problematic, made by men and for a masculine gaze. So I didn’t do portraits. The two photo editors of the magazine La Déferlante knew I was working on this study that unravels our way of doing things, and they offered me to do portraits. I was very stressed, but I understood something with this study. I don’t work in the same way anymore.

I work by taking people into account, by co-constructing the images. For example, for my book “And Love Too,” each person was photographed where they wanted, how they wanted. There was never a dominant gaze, no control. It was a collaboration.

The Political Influence of Photos

Your latest book, which blends photos and interviews, was sparked by the debates in France in 2012 surrounding Marriage for All. How is your photographic work political?

My latest book originated from a commission on documentary photography, commissioned by the French National Library (BNF) by the government, where I was a laureate. Otherwise, I would never have done this project. I wanted to ask questions because despite the saying that a picture is worth a thousand words: it’s false.

For minorities, it’s not. Ten years ago, during the debates about marriage for all, we heard a lot from gays, and opposed women and men, but not lesbians. It was important for me to ask them questions and to ask how their lives had changed in the last 10 years after the events of 2012, which had been very violent. To know how we were doing.

This work also involves taking a different look at portraiture, at photography, and that’s very important. I talk with them about the intimate and the intimate is political. In 2012, we saw that what concerned our bodies, our families, was thrown into the public square.

Everyone had an opinion on it, and they didn’t ask for ours. It was time for lesbians to have positive and real representations.

“Making the invisible visible and showing realities that are marginalized, that’s political.”

Representing Lesbians

The book includes several types of portraits: nudes, very posed portraits, or ones taken in action. How did you construct your images?

Each person chose to be dressed, nude, nude on a motorcycle, in nature… The portraits aren’t very posed. The shoots were quite lively. They were fairly joyful exchanges. The images were co-constructed, which means there’s a lot of diversity. There’s no template. It shows our diversity.

I have in mind the work of Zanele Muholi: she directs the shoot a lot, asks to place the gaze in a certain place. I didn’t work like that at all.

“We are inhabited by stereotypes and we need to question them.”

Did you consider questions of female representation in photography from the beginning of your photographic work?

No, I didn’t specifically consider the question of the place of women. The question of the representation of lesbians, yes, I did consider.

Representing the Body and Its Aging

In another of your photographic series, "S'enforester," you merge the body and the forest. How did this return to the land influence your vision of the body?

I have always been deeply rooted in the land; fortunate to be born in Auvergne and raised amidst both urban bustle and rural tranquility. Spending my vacations and Wednesdays on the edge of the forest in the mountains nurtured a profound connection with nature, one that I carry within me to this day. This volcanic region holds a special place in my heart, shaping my identity. Questions about the body appeared later.
I have worked extensively on self-portraiture, an exploration often found among women seeking a more faithful representation of themselves.

I was very involved in activism since 2014. It was a lot of work, and my artistic and professional work suffered from it. One doesn’t become feminist without consequences. Three years ago, I recognized the need to rekindle my passion for art, my true calling.

Initially guided by a poetic sensibility, my practice evolved as I delved into feminist theories, particularly those of Camille Froidevaux-Metterie, whose insights into the female body resonated deeply with me. Now, at 61 years old, as my body ages, questions of representation loom large.

During an artist residency in Finland, I seized the opportunity to explore these themes further, embarking on a journey of self-exploration through photography. My aim was to capture the essence of aging, set against the backdrop of the natural world that has always been my sanctuary – the forest.

“S’enforester embodies this quest to maintain a profound connection with nature.”

Equipment

What type of equipment do you use most often for your shots?

I primarily use a Canon 5D Mark IV paired with a 50mm lens, and occasionally a 100mm macro for portrait shots. Additionally, I have a LED tube for lighting, although I seldom rely on it. This tool assists in adding a subtle fill light to indoor photos. Notably, I avoid using a tripod, as I believe it’s crucial for portrait work to maintain a sense of agility and approachability. This enables me to move swiftly and remain lightweight, fostering a relaxed atmosphere during shoots.

Post-processing

Do you do a lot of post-processing on your photos?

It depends. For a series like “S’enforester,” there is a lot of work because I mix images, but otherwise for the portrait series, not at all, except for color balancing. The files could be printed directly.

Advice for Young Photographers

What advice would you give to a young photographer who wants to become a professional?

To be aware that it’s not a lucrative profession. I would tell them to listen to the “Arrêt sur Image” program, which had a lot of impact, to question their perspective. To read the book we’re going to make on portrait photography, which will obviously leave a mark. We show things that have never been shown before. The goal is not to say what to do but to ask questions.

It’s very important to join a union, to learn about your rights, duties, how to make an invoice, how to position yourself with a gallery, buyers because it’s not taught enough and it often puts people in embarrassment.

Extend this moment with Marie Docher by following him on his website or on Instagram.

The post An Analysis of Photojournalism with Photographer Marie Docher appeared first on ShotVoice.

Requiem for Abandoned Pianos with Photographer Romain Thiery

The ShotVoice Team — Fri, 23 Feb 2024 09:31:15 +0000

Between the silent keys of forgotten pianos and the echo of abandoned places, Romain Thiery captures the poignant essence of neglected pianos set in desolate spaces steeped in history. His work is a journey through time and emotion, where each image tells a unique story of beauty, decay and nostalgia. Through our discussion, Romain will reveal the inner workings of his creative process, his inspirations, and how his passion for the piano and photography have harmoniously intertwined to give life to “Requiem pour pianos”.

How did you discover your first piano, and why photograph it?

I started playing the piano at a very young age. It holds a significant place in my life, and I try to play every day on my piano at home, but I’m just an amateur. Additionally, since my childhood, I’ve always accompanied my mother on her photographic journeys.

At that time, I followed my mother in her photographic work, which introduced me to the photography of abandoned and ruined places.

In 2008, it was love at first sight. In a small French town, I discovered a 19th-century mansion. Everything was destroyed, empty, the place had been looted. On the first floor, I found a piano, in the middle of a ruined room. The fireplace was broken. The valuables and treasures had already disappeared. Only this piano remained. I thought there must be others.

It’s since this discovery that I had the idea to combine my two passions into a single project ‘Requiem for Pianos’ and decided to search for these silent pianos. Since 2014, I have discovered more than a hundred pianos around the world.

“This piano was the soul of the place, even in the midst of a ruined space, it continued to maintain its power. It was there, reigning in all its grandeur.”

How do you find these abandoned places with pianos?

It’s not easy. It involves specific research that leads me to create a solid network of trustworthy people. It’s hard to explain the process as it differs from country to country. Sometimes I find press articles, get in touch with people working in heritage or music, or photographers around the world.

I often search on satellite image software which allows me to identify ruined buildings. I focus my search on prestigious buildings like castles, mansions, palaces, etc., to increase my chances of finding a piano. In recent years, with my growing fame, it’s become easier to find instruments to photograph.

Sometimes, people contact me directly because they are aware of a location, having seen my photographs in exhibitions or the press.

What does the piano represent to you?

I think the piano is an instrument loved by everyone. Even if some don’t know how to play, we always try a piano when we enter a room with one. It must be said that musical instruments are always beautiful and almost deified for us. So, even if time damages them, we are attached to them. We respect them.

But the piano is more than that. It’s a comforting instrument with its natural elegance. Even covered in thick dust, it continues to impose its nobility and respect. This grandeur is rooted deep in our culture.

Has your photographic work impacted your sensitivity as a pianist?

Of course. My artistic work has allowed me to exhibit in high-profile music and piano venues in France and abroad for several years. I am often invited to prestigious piano festivals. This allows me to meet many pianists and improve my musical knowledge.

Have you noticed any peculiarities in the abandoned places according to the regions?

Each country, each region has its own architectural characteristics. It’s evident that I find specific piano brands in each country. For instance, Gaveau, Erard, Pleyel for France, Steinway, Bechstein for Germany, and Bosendorfer for Austria. In the United States, everything was of course different from Europe, both in architectural terms and piano brands. I was amazed at how quickly buildings disappear due to their mostly wooden structure.

Isn't it dangerous to photograph these abandoned?

There’s always a danger to consider when visiting abandoned or ruined places. I don’t take special precautions but remain very vigilant, even today, about the state of decay of the place.

How did you discover photography?

Being the child of an amateur photographer mother, I grew up in this universe which quickly fascinated me. Specializing in heritage photography, she often took me with her and passed on her knowledge.

Photography became more personal and professional when I decided to go abroad. India was a revelation; I wanted to capture its unique atmosphere, its hustle and bustle, and its omnipresent colors.

When I returned, my mother had started a particular project on the abandoned heritage of Dordogne, my native region. It was natural for me to accompany her, and the ‘Requiem for Pianos’ project took shape.

What type of equipment do you use most often for your shots?

I’ve always worked with Sony equipment. I’ve had several cameras from this brand, and currently, I photograph with a Sony a7RIV and a 16-35 mm lens.

How did you make your photographic work known?

At the beginning, my ‘Requiem for Pianos’ project was entirely personal. However, the press and galleries quickly became interested in my work, as I was the only one focusing on this specific subject.

Things accelerated in 2017 for me. I had the opportunity to visit a palace in Poland where an old piano had been forgotten. This photograph, ‘Requiem for Pianos 33’, was quickly noticed by galleries, journalists, etc. It boosted my fame and made my work on pianos known internationally. Since then, I have won major international photography awards in various contests.

My series has been presented in America, Europe, and Asia. They have been exhibited in art galleries in San Francisco, Paris, St. Petersburg, Tokyo, Hamburg, Seoul, Lausanne, Tel Aviv, and many more. The most prestigious press titles have already praised or covered my work in their pages such as El Pais, Der Spiegel, The Guardian, Lonely Planet, Cultura Inquieta, Point de Vue, Esquire, Beijing news, and in TV reports on M6 (France), DW (Germany), Channel Cuatro (Spain), TV5 Monde (France), and I24 News (France and Israel).

Your work inspired a short film. Did this give you the desire to use video?

After the release of my book recounting the 15 years of my ‘Requiem for Pianos’ series with Odyssée editions, two producers became interested in my photographic work. Several days of filming took place in an abandoned castle and a ballroom in Germany. It was an unforgettable experience with a team of more than 20 people. This allowed me to set foot in a field I knew nothing about and to learn new techniques. The profession of a videographer is fascinating, but for now, I prefer to stick to the medium of photography.

What advice would you give to someone looking to undertake a unique or unusual photographic project?

I would advise always reflecting on the meaning of their projects before thinking about the equipment that will be used and the final result. A photographic project takes time, is built, and improves over the years. Do not hesitate to show your work during portfolio readings.

“Do not hesitate to show your work during portfolio readings for example, spend time in exhibition spaces, consume art, and always remain curious.”

Extend this moment with Romain Thiery by following him on his website or on Instagram.

The post Requiem for Abandoned Pianos with Photographer Romain Thiery appeared first on ShotVoice.