Photographs
Landscape, wildlife, street scenes and architecture
Four families of images. Landscape comes first by a long way; the other three take up less space, but no less work. Every photograph here exists as a limited edition print.
Landscape
Most of the catalogue lives here: the forest of Huelgoat and the Stangala gorges in Brittany, the meanders of the Vézère, the Dune du Pilat, Cap Canaille above Cassis, and the woods of Île-de-France at the hour when the mist has not yet lifted.
My method is simple and slow: find the right time and the right point of view, then wait for the light. I work in colour for most landscapes, and turn to black and white when a scene gives more without it.
Wildlife
Deer in the Rambouillet forest, squirrels in the Parc de Sceaux, cormorants and Henson horses at the Marquenterre. Nothing exotic: animals that live a train ride from home.
Patience, patience, and quiet. After hundreds of attempts, it comes all at once, and it does not come back.
Street scenes
Paris, mostly: the Panthéon, the banks of the Seine, the bridges, and the passer-by who arrives at the right moment.
I wait for the moment when the composition balances, and for the light and the perspective to agree. I work mainly in black and white here.
Architecture
Towers, bridges and facades: La Défense at every hour, the Golden Gate at golden hour and at blue hour.
Architecture is the best excuse I know to work on lines, symmetry, shape, and what the light decides to do with a surface.
Questions about the prints
Sizes, materials, prices, delivery, returns: all the answers are gathered on one page.
A few questions about the photographs
Have you won any competitions?
Since 2023: 53 distinctions in 12 international competitions, including five gold awards, across 28 photographs. Every one of them is listed, competition by competition, on the awards page.
Do you edit your photos?
I shoot in RAW, then I edit to bring out the scene. There is always a limit to that. My rule is to improve a photograph with subtle changes and never fall into the trap of over-editing.
Who inspires you as a photographer?
Painting, before photography. Most of what I know about composition I learned from painters, and above all from the chiaroscuro ones: Caravaggio, Rembrandt, Vermeer, Georges de La Tour. What they taught me is that light is not something you add to a subject, it is the subject. A forest at dawn and a Caravaggio have the same problem to solve: how much darkness you can leave in before the eye gives up.
Then the realists: Millet, Courbet, Repin. They looked at ordinary things, a field, a worker, a path, and refused to make them picturesque. That is more or less what I am after with a lone tree in a rapeseed field at Vert-le-Grand.
Among photographers, the ones I keep coming back to are the ones who waited. Each of them taught me something different about what that is worth.
