A photographer. A compact Leica. A house in the Marais, Paris. A musician-writer. The mountains of Morocco. A mask, one of the many masks of contemporary times. A vision: a comics character nominated at the 2020 Academy Awards. This is how the visual project “I JOKE, AND JOKE” was born.
From the bistros to the streets, what the Parisians let you see is just a part of their everyday life. It’s a mind game – an “allowed theft” of moments and forbidden frames – that starts in the mind of the photographer. Paris as a hallway in a high-school: relate to a few schoolmates and ignore the rest of the world inside. Little Leica C Typ 112 is the perfect “invisible mate” to explore a reality which is apparently flat. High contrast black and white is the patois language allowing you to quickly understand and live the different situations around you. Everything that is happening in front of you can open the curtains of reality. A coffee with a friend; an ecological rally; perfect architectures and reflections; street art sketches; passers-by ad commuters. Even where the dark explodes, a blink of light survives for the photographer. Paris is… what the Parisians let you see, between the shadows and the lights.
The crowd in the S.Siro South Stand moves and sings in unison, the team in heart and mind. But if you look closely at this three-dimensional mass, you can see the faces of the individual football supporters. Every face has a story. More than the football players’ performances, these faces have immediately attracted me and continue to attract me. These individual souls are the fuel of competition, but each also changes the dimension and profile of the mass. (All frames taken with Olympus OM-D E-M5)
Just over a week to Brexit.
Brexit and Londoners show a hunched and at times uncertain gait.
This time I decided to abandon b&w and to choose color: I needed to record as much information as possible.
Through my lens colors became faded, people blurred.
Nobody seems to think about the future, they seem to prefer turning their backs on the troubling days to come.
I looked for the most frequent keywords used to describe Brexit in newspapers and… combined them with the frames.
BREXIT COMIN’… People remain…
Thanks to my friend rapper/actor/filmmaker Taiyo “HYST” YamanouchiI had the chance to participate in a singer’s image change.
For his new album campaign, IndieJesto, Jesto, Hyst’s brother, not only chose to reappear on social networks with a completely different look, but he even changed musical genre shifting from rap to pop rock.
On a rainy November evening, I joined the crew led by HYST for the filming of a videoclip.
A quick briefing: they needed backstage shots in black and white and some “street” portraits, again in a high-contrast black and white; in short, they looked at creating a typical vintage atmosphere from other times.
The sets: a second-hand clothing store; a record store; the Navigli canal-sides; and a pub.
The characters: Jesto & friends, an acoustic guitar and pints of beers.
The film and photo crew: Me & HYST
Jesto’s natural attitude in his new skin made my work absolutely easy: I photographed the skin-changing live with my old FujiFilm X30 and I did it before the fans could realize what it would soon be.
By its own nature jazz music is traditional/ist but jazz also knows how to find new directions for the future. During Ben Williams & Sound Effect’s recent show at Jazz Cat Club Ascona, jazz music has brilliantly proved it is capable to possess a vision that goes beyond the teachings of the past. In Ascona, composer, singer and bass player Williams presented his own idea of jazz. He enchanted the audience with a sonic melting pot: neo-soul, sampling, but also Beatles, Radiohead and Bob Dylan covers turned on the show. At the end of the performance, an emotional “The Death of Emmet Till” rendition showed how much the past is necessary to move in the present and imagine a cultural and social future. (All frames taken with Olympus OM-D E-M5 + Zuiko 75mm f1.8)
Occasionally I decide to go out with an old 35mm camera… This happens now and then. I don’t have a wish to feel like Cartier Bresson, you see?
Maybe it’s because of Paris itself that I took out my Yashica GSN Electro 35 and went down in the streets of the Marais.
One hour was enough: the old Yashica GSN weighs a lot, but its autofocus was fast enough to capture the different souls of the neighborhood. 35mm “language” is different, perhaps today few understand its aesthetics… (a Rollei RPX400 roll film loaded in camera).