Bj & Richeille Formento

Posted By Photographs and Books / novembre, 1, 2011 / 0 comments

Self portrait.

BJ IS THE LIGHT, RICHEILLE THE PIGMENT. Richeille is the virtual image; BJ the physical act. Neither is only themself; each is also the continuation of the other. One is the the beginning , the other the end. BJ is not Richeille. Richeille is not BJ. BJ needs Richeille, Richeille needs BJ. Two people that form a single entity.

Their collaboration is a declaration of love. Two singularly, provocative, glamorous artists seeking ways of expressing themselves, one through photography, the other through creative direction. Alone, the narrative is impossible to recount. Of necessity, their artistic story takes the form of a dialogue. Everything they do is based on fusion: corporal, spiritual and artistic. Everything they do depends on exchange, balance, harmony. Everything begins with BJ’s photography, in the frozen instant that will never return, in the fire of creation, immediacy of emotion; and ends in Richeille’s creative direction, in her slow, reflective, patient composition. See the exhibition

Bj & Richeille Formento

Posted By Photographs and Books / novembre, 1, 2011 / 0 comments

Self portrait.

BJ est la lumière, Richeille, la couleur. Richeille est l’image virtuelle, BJ, l’action. Ni l’un ni l’autre n’est seulement soi, chacun est aussi la prolongation de l’autre. L’un est le commencement, l’autre est la fin. BJ n’est pas Richeille, Richeille n’est pas BJ. BJ a besoin de Richeille, Richeille a besoin de BJ. Deux personnes en une seule entité. Leur collaboration est une déclaration d’amour. Deux artistes originaux, provocateurs, brillants, cherchant des moyens de s’exprimer, l’un par la photographie, l’autre par la direction artistique. Isolément, le récit ne peut fonctionner. Par nécessité, leur histoire artistique prend la forme d’un dialogue. Tout leur travail est basé sur la fusion, qu’elle ait trait au corps, à l’esprit ou à l’art. Tout s’ancre dans l’échange, l’équilibre, l’harmonie. Tout commence avec la photographie de BJ, dans l’immobilité glacée de l’instant qui ne reviendra jamais, dans le feu de la création, l’urgence de la création ; et tout s’achève avec la direction créatrice de Richeille, dans sa lente et patiente maturation de la composition. Voir l’exposition

Le livre Formento+Formento

Posted By Photographs and Books / novembre, 1, 2011 / 0 comments

Inutile de vous relater l’histoire du travail de ce couple photographe/styliste. Bj et Richeille exposent sur le36dumois et vous trouverez leur biographie sur ce blog ainsi qu’une interview.
Nous adorons leur travail, leur lumière et je dirai même leur « répétitivité »

Bj et Richeille rassemblent leurs plus belles photographies issues du trip « Circumstance » chez Blurb®

Interview Bj & Richeille Formento by Clayton Maxwell

Posted By Photographs and Books / octobre, 31, 2011 / 0 comments

“After concentrating on commercial work for the past years, I just really wanted to get back to expressing soulfulness and honesty,” BJ explained. The Formentos who met on a shoot in 2005 and were married 3 months later, are well versed in the world of high fashion photography. In addition to their work as commercial photographers, they run a cutting edge photo library, Eyecandy Images. But this, Circumstance, is something entirely new for the couple.

Self portrait.

“We had been shooting commercial imagery for some time,” explained Richeille, “and were attending a conference in New York when it hit us: why are we producing such shiny happy imagery when no one is covering the real underlying emotions of how people feel or what they have gone through?”

The images shown here are almost all from the second installation of the project titled, fittingly, The Dark Side. Shooting Circumstance has been such a powerful experience for both the formentos and the women they photographed, that BJ and Richeille turned it into a three-part project, each the result of a separate cross-country journey. “The project grew rganically,” says BJ, “and when we decided to our second cross country trip this winter we wanted to focus on abandoned dreams and forgotten locations that reflect the inner landscape.”

“So much of the ‘producing’ America is now defunct,” says BJ, “back roads lead us to ghost towns and forgotten strip malls, to abandoned churches and motels, to rotting steel mills and theatres, prisons, airports and train stations. Luckily we found women in these towns to play our heroines. It has been such an amazing trip.”

The “models” in this series are so beautiful, so convincing in their noir femme fatale aesthetic, it’s hard to believe they are women the Formentos met along the way. Some seem to have just stepped off the screen of a Hitchcock film, their fifties wardrobe and smoothly coiffed hair is a testament to the Formentos impressive talents as stylists. But in their faces and postures, there is an unfeigned emotion that feels very honest and unposed – something deeper than the beauty of their clothes and hair. These are real women.

The Formentos explain, “Many women came forward from our blog and online gallery. We did searches online for women, and then some came forward through our chance travel into locations. Some women had modeled before, whilst others had dabbled in acting. But, the emotions were very real. What was surprising was most women came forward not expecting to unearth the emotions they did. Taking part in the process seemed to finalize a chapter for some, and start a personal journey for others.”

BJ and Richeille are enthusiasts of the “in between” moments, those instances when someone is caught unawares, when the mask is off. BJ explains, “Many times the women had in between moments whilst we were lighting or setting up. These were often the true moments, catching them searching within to find what they had to say was often the moment they showed themselves at their most honest.”

The Formentos found themselves in the midst of many juicy moments, the unexpected small joys that are possible when you give over to Life on the Open Road. “We definitely take away the memories of those we have met and the places we visited, as well as having a photographic record of all of that,” Richeille says. “Every town has its own gem. I will always remember the Rib Co in 29 Palms and the hospitality of one model and her mother who had us stay with them for two days in Pennsylvania. There are so many stories to tell! The in-between towns on the way to California – like in Wyoming – had the best thrift shopping! We actually hit some stores twice; a year apart, and they still remembered us like it was yesterday. You have to love those kinds of places where time doesn’t seem to move”

And like most things you do wholeheartedly, the project has given back to the Formentos more than they could ever have anticipated. Labours of love almost inevitably elicit some kind of sweet, unexpected return. The Formentos say they have gained new jobs because “the client specifically requested our signature look,” and galleries in France and London have asked to show the work.

And meanwhile, many, many women across the United States have had a chance to tell part of their story whilst playing a roll in the Formentos’ vivid exploration of American culture on bruised knees.

Clayton Maxwell

Akos Major – L’interview

Posted By Photographs and Books / mars, 27, 2011 / 0 comments

akos major in portrait

Akos Major
Né en 1974 à Gyöngyös, Hongrie

Enfant, avez-vous souhaité faire des photographies? Venez-vous d’une famille d’artistes?
Pas vraiment. Mon père a fait beaucoup de peintures et de dessins dans sa jeunesse. C’est tout. C’est dommage qu’il n’ait pas continué la peinture.

Vous avez fait vos études à l’Institut Moholy-Nagy. Est-ce là que vous vous êtes intéressé à la photographie ?
J’avais eu quelques leçons en photographie au lycée artistique de Pecs, où j’ai étudié le dessin, mais je ne me suis pas intéressé à la photographie avant 2008. Je n’avais même pas d’appareil. A l’université (MOME) j’ai étudié l’animation. Nous utilisions des videocams, (S-vhs et U-matic, est ce que certains s’en souviennent ?) mais c’est tout.

Diriez-vous que votre technique est la partie la plus importante de votre travail ?
D’un point de vue technique, on pourrait. Pour moi, personnellement c’est en dehors de cela. Pour le public, oui, c’est peut-être la technique. Je regarde toujours les prévisions météo, à la recherche d’un temps gris et sombre. J’aime particulièrement ces minutes juste avant la pluie, le silence de la première neige, les journées mélancoliques et la tristesse qu’apporte le brouillard. Le plaisir de vivre ces moments, pour moi, c’est la partie la plus importante de mon travail.

Votre travail semble une représentation d’un « pays idéal, sans vie ». Quel est le rapport entre la photographie de la foule du « Fernsehturm, Berlin» et votre œuvre majeure « Ruisseau, Alpes autrichiennes » qu’expose le36dumois ?
Je n’aime pas beaucoup les shootings dans des lieux pleins de monde, dans une ambiance de ville. Je peux aimer les résultats, j’apprécie les paysages urbains de beaucoup de photographes, mais mon territoire est le paysage naturel, sans personne. C’est peut-être une impression perceptible dans mes photos de villes.

Dans les images que vous avez faites, retrouvez-vous l’influence d’autres artistes, passés ou présents ?
Oui, il y en a beaucoup. Dès que j’ai vu l’œuvre de Michael Kenna, j’ai su que je voulais faire de la photographie. Il ya bien des noms à citer, mais pour moi, il les dépasse tous. Un autre qui a été une source de motivation importante, c’est Norman Ackroyd, l’artiste de paysage. Ce n’est pas un photographe mais son travail me touche profondément. J’ai également rencontré de très bons photographes par flickr et behance et ces types sont vraiment bien.

Comment procédez-vous pour prendre des photos ? Partez-vous à la recherche de certains paysages dans des circonstances particulières (comme le temps) ou allez-vous à l’aventure ?
Il y a bien des endroits et des pays où je veux aller faire des prises de vues. Oui, j’ai même une liste. Mais beaucoup de mes photos viennent de mes balades autour du lac Balaton, dans les forêts et les collines de Hongrie.

Votre nom apparaît dans une quantité de blogs. Qu’est ce que cela vous fait d’être vu grâce à un écran d’ordinateur ? Croyez-vous possible que le futur en art dépende de la notoriété sur le net ?
Difficile à dire. Je ne m’attendais pas à voir mes photographies dans les magazines, quand j’ai versé mes premières images sur flickr. Je suis ravi, quand je vois mon travail dans des articles ou des sites de design, – en compagnie de noms fameux parfois. Mais honnêtement, je ne peux pas regarder mes images avec l’œil d’un inconnu. La photographie, à mes débuts, était un moyen d’échapper au quotidien, à l’agence de pub où je travaillais, à la ville. C’était mon île-refuge. Vous voyez, la photographie est vraiment une affaire personnelle. C’est intéressant de voir ce que devient une photo, mais ça s’arrête là. Je ne recherche pas la célébrité.

Connaissez-vous le site internet où vous êtes le plus visible ? Vous êtes très connu sur behance par exemple. Tous ces commentaires d’inconnus, est-ce frustrant ? Cela vous pousse-t-il à faire une vraie exposition ?
Oui, en ce moment c’est Je dois reconcevoir mon site, je ne l’aime pas beaucoup en ce moment, c’est pourquoi il est encore en construction. Jusqu’à maintenant je ne voulais pas exposer. J’ai toujours détesté les vernissages. Pourtant ma motivation ne vient pas des commentaires et des critiques. Ils ont leur utilité sur beaucoup de points, mais ce n’est pas ce j’appellerais de la motivation.

Envisagez d’orienter votre carrière vers la photographie à plein temps, ou garderez-vous votre activité de designer ?
Je suis un sacré veinard, parce que j’aime mon boulot. Pour le futur proche, je conserverai la photographie comme passe-temps et on verra. Il me faut encore progresser pour devenir un pro à plein temps.

Akos Major 03/2011 – Traduction: MA Dalton
A venir

Akos Major – Biographie

Posted By Photographs and Books / mars, 27, 2011 / 0 comments

Akos Major est diplômé de Moholy-Nagy University of Arts and Design (MOME) à Budapest – Hongrie. Spécialisé en communication visuelle et après avoir travaillé pendant dix ans comme directeur artistique, il se concentre sur sa carrière de designer freelance. « J’ai pris la plupart de mes photos au hasard de mes longues marches en Islande, en Hongrie ou en Autriche. Les grands espaces déserts m’ont toujours attiré. Pour les prises de vue, je choisis plutôt des endroits dépouillés et isolés, sans personne autour de moi. Je travaille toujours seul. La photographie est le chemin pour atteindre mon équilibre spirituel ». Voir l’exposition

Akos Major – Biography

Posted By Photographs and Books / mars, 27, 2011 / 0 comments

Akos Major graduated from Moholy-Nagy University of Arts and Design (MOME) in Budapest, Hungary, with a degree in Visual Communications. After working for ten years as an art director in a Budapest-based Ad-Agency, he has recently left the industry to work as a freelance designer. « Most of my photographs were taken during my long walks in Iceland, Hungary, and Austria. I’ve always been drawn to wide-open spaces void of people. I tend to shoot when there’s no one around, when the places are bare and lonely. I always shoot alone. Photography is the way to my zen mind… »


Akos Major – Interview

Posted By Photographs and Books / mars, 27, 2011 / 0 comments

akos major in portrait

Akos Major
Born in:1974
Birthplace: Gyöngyös, Hungary

Your first souvenir about  « I want to take photographies » – Are you coming from an artistic family ?
Not really. My father did a lot of paintings/drawings in his earlier years, that’s all. It’s a pity he didn’t keep on painting.

You were educated at the Moholy-Nagy Institute. Did you pick your interest in photography there?I had some photography lessons at the High School of Arts, Pécs, where i studied graphic design. However, i didn’t give attention to photography until 2008. I doesn’t have a machine, even.At the university (MOME) i studied motion design, where we used videocams, (S-VHS and U-matic, anybody remember these?) but that’s all.

Could we say that your technique is the most important part of your work ?
From a technical view, we could. To me, personally is to be out there. To the audience, well, yes it’s maybe the technique.
I always watch the weather forecasts, looking for overcast and grayish weather. I really love those minutes just before the rain, the silence of the new snow, gloomy days and the depression of the fog. Love to live these moments, i think this is the most important part of my work – to me.

Your work seems to be a kind of report of the « perfect land with no life ». What would be the connection between a crowded place like the « Fernsehturm, Berlin » photography and your major piece exhibition on le36dumois « Creek, Austrian Alps »?
I don’t really like shooting in crowded places, in urban ambience. I like the results, digging many photographers’ cityscapes, but my territory is the land, where’s no one around. Maybe some can feel this kind of mood on my urban shots.

When considering the images you’ve done, would you acknowledge any specific influence from other artists – past or present?
Yes, there are many. When i first saw the work of Michael Kenna, i knew i want to photograph. There are many names, but he is above all of them, for me. Another huge motivation was Norman Ackroyd, landscape artist. He is not a photographer, but his work deeply touches me. Also i met some very good photographers via flickr and behance, those guys are just cool.

How do you proceed when making photos? Are you starting with tracking specific landscapes under specific circumstances (such as weather) or are you wandering around?
There are many places and countries i want to visit for a photoshoot. Yes, i have a list. But f many of my photos were born during just lurking around Lake Balaton, the forests and hills of Hungary.

Your name is on a lot of photo blogs, how do you feel about being seen through a computer screen? Do you think a possible future for art would be pending on online notoriety?
This is a strange state. I didn’t expected to see my pictures in magazines and so, when i uploaded my first images on flickr. It is really uplifting, when i see my work in articles, or design sites – besides some great names sometimes. But honestly, i can’t look at my images through a stranger’s eye.  When i started to photograph, it was an escape from the everyday life, from the ad-agency (where i used to work), from the city. It was my safe island. So photography is very personal to me. It’s interesting to see the afterlife of a photo, but that’s all – i don’t photograph for fame.

Could you identify the website where you have the best visibility? Your are very famous on Behance for example? Is it frustrating all these unknown commentary and is it a motivation for making a real exhibition?
Yes, this time it’s behance.netI have to re-design my website, i don’t really like how it looks now, that’s why it’s ‘under construction’ yet. Until now I didn’t want to exhibit. I always hated the opening parties. However, my motivation isn’t coming from the comments and critics. They can be very useful in many ways, but i wouldn’t call it motivation.

Are considering orienting your career toward being a full-time photographer, or will you keep on being active in design?
I’m a lucky bastard, since i love my job. For the near future, i keep photography as a hobby, then we’ll see. I have to improve my skills in photography to become a full-time pro.

Akos march 2011.

Un accrochage à Vaux le Pénil

Posted By Photographs and Books / mars, 6, 2011 / 0 comments

Dans le cadre superbe de la Table Saint Just

exposition de trois photographies

exposition photo à la table saint just

Exhibition in « La table saint Just »

Posted By Photographs and Books / février, 20, 2011 / 0 comments

3 diasec and 30 manuels prints will be available soon, in a private place…