Looking at your photographs, I experience the same intense pleasure as when I discovered the photographs of Olype Aguado, Achille Bonnuit, Humbert de Molard, François Brumery, Henry Peach Robinson and all the photographers who marked the beginning of this art. Perhaps, because photography by its original link with the theater (Louis Daguerre was first a painter before converting to the profession of theater decorator for which he executed remarkable paintings (in particular the decorations of Aladdin or the wonderful Lamp at the Opera) irremediably participates in "performance". Not only being a device for the mechanical reproduction of reality, it modifies it through lighting, recomposes it through the pose and arrangement of the decor, even invents it in "representations" life. It is thus part of the duration, not only by the recording of a moment forever suspended, but also by the time necessary for the preparation of the photographed scene. That this preparation is very brief (in the reportage: choice of subject and framing, parameters or automatisms) or longer (in life still photography: decor, lighting, role-playing of the actors, etc.), the photographer experiences the time. This relationship to time is enriched in the life still photography painting with a substantial temporal expanse, anticipating the shooting, which places it on the side of the story and the narration. The photographer therefore evolves in the imagination and draws the viewer into his time universe so complex.
Dream House is such a compelling set of pictures. Thank you for continuing to give insights into the making of your work. Was there something specific that didn't land in the early test images with Julianne or was it that they just didn't "feel" right?
Looking at your photographs, I experience the same intense pleasure as when I discovered the photographs of Olype Aguado, Achille Bonnuit, Humbert de Molard, François Brumery, Henry Peach Robinson and all the photographers who marked the beginning of this art. Perhaps, because photography by its original link with the theater (Louis Daguerre was first a painter before converting to the profession of theater decorator for which he executed remarkable paintings (in particular the decorations of Aladdin or the wonderful Lamp at the Opera) irremediably participates in "performance". Not only being a device for the mechanical reproduction of reality, it modifies it through lighting, recomposes it through the pose and arrangement of the decor, even invents it in "representations" life. It is thus part of the duration, not only by the recording of a moment forever suspended, but also by the time necessary for the preparation of the photographed scene. That this preparation is very brief (in the reportage: choice of subject and framing, parameters or automatisms) or longer (in life still photography: decor, lighting, role-playing of the actors, etc.), the photographer experiences the time. This relationship to time is enriched in the life still photography painting with a substantial temporal expanse, anticipating the shooting, which places it on the side of the story and the narration. The photographer therefore evolves in the imagination and draws the viewer into his time universe so complex.
Dream House is such a compelling set of pictures. Thank you for continuing to give insights into the making of your work. Was there something specific that didn't land in the early test images with Julianne or was it that they just didn't "feel" right?
Just beautiful - I love reading these BTS stories and learning about Gregory's artistic process and decision making. Thank you!