“Iran revolution’ extraits of the book published by the Editions des Arenes.

About the book This book is above all a visual testimony. I wish to tell what I saw and lived day by day, to be a simple “reporter of history” … which would not bring any judgment on history. For…

"Iran revolution' extraits of the book published by  the Editions des Arenes.

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About the book
This book is above all a visual testimony. I wish to tell what I saw and lived day by day, to be a simple “reporter of history” … which would not bring any judgment on history.
For several years, I worked mainly on black and white books. I retouched my images with restraint, respecting the codes of monochrome classical photography. By avoiding, if possible, strident, saturation and false notes …
But over the years, an idea has emerged. I wanted to show images out of the ordinary, to go further, to switch to another visual universe. I then began to push the sliders of my computer programs, to tell my stories differently. A schizophrenic work on two fronts, as if I listened in stereo to classical music and rap …
My images of the revolution lent themselves, as if by magic, to all these manipulations, more and more graphic and refined. Curiously, my original black and white photographs were in fact made of gray, half-tones: pushing the sliders a bit further, I made the lines appear, black and white, nothing more … The pictures became drawings in the line, like calligraphy. My work turned into a kind of “photo-graphic” comic.
Unlike painting, photography claims to represent reality. A feeling of guilt tapped the former photojournalist that I am.
For a reporter of reality, transforming images is the crime of lese-photography. Photographers excommunicated by their peers, as a result of retouching too visible, are not lacking, as evidenced by the controversy around Steeve McCurry, who defended himself by defining his work as a “visual narration”. Over forty years of practice have convinced me that photography is just a pretense. It is a representation of reality among others, an art consumed by subterfuge, even lies, which persists in making us believe in its truth, a wonderful illusion, telling the person who plunges its own history, receptacle of his “image-inary” …
For this book, I decided to emancipate myself from the rules induced by photography and to stop pretending to reality. I wanted to get out of the world of photography to penetrate into that of the image, two visual worlds with porous borders … A little like the “old masters”, I have contrived contrasts, filters, lights, colors and lines with
innovative computer tools … Like a musician who would pass from the piano to the synthesizer. My project plays on the stresses and the saturation, the lines and the curves, the true and the false, the blur and the net. But these transfigured images remain photography, demanding a good initial quality. Unlike drawing, their capture is provided by a photographic tool, which always respects the laws of geometric perspective (optika, in Greek).
The result surprises, baffles sometimes. Difficult to define the lines between the world of photography and that of the image. Pushing these limits has opened up new opportunities for storytelling in pictures. I searched for a long name for this OPNI (unidentified photographic object). It was enough to add a hyphen between photo and graphic to reconnect the links between photo and image …

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