Web site of the photographer Emmanuel Romeo. Fine art photography with european landscapes background - Illustration - Poetry and atmospheres, a sight on nature feeded by imagination, particularly in the chimerical figures of the world of the forest.http://www.naturaphot.org/paysages-forestiers-1.html Scientist originally, I practise as a photographer since many years, and my favourite ground is the natural surrounding.What is my chief motivation when I photograph ?This is a rather difficult question, for many reasons. I should say, to cut a long story short, that the forest is one place where I feel happiest… Photography helps me to hold all this poetry, and to communicate it. In the same time, I stay aware it's a pursuit of an impossible happiness, because nobody can get love in such a way. Without any doubt, a real love action would be to put his equipment away and only enjoy the moment, to melt in the flora maybe to get lost inside. But man is probably a child who grows tall to fast…What is my source inspiration ?Love seems to answer the best. And beauty of the plant life, or of the animal within its "natural" world. The "natural science book" doesn't interest me greatly, unless to the plastic point of view. I constantly feel seated between transmitting this primeval seeing of an object that mind has not corrupt yet, and being in pursuit of esthetic. However I try not to feed the idea that "everything is rose-coloured" in nature. Also, to privilege the beauty is not a priority. I also show what can be deeply tragic, hostile or gloomy. Photography is the mirror of relationship between the vital world and me. The forest permanently groans. I do try to produce this echo, helped by some figures we have comfortably relegate in our imaginary register.What subjects do interest me the most ?Landscape (even if this word doesn't fully suit me), manufactured and sculpted objects by the nature itself, searching for plays of light, even the feasibility of enclose symbols and thrills through compositions within natural themes.What is, for me, a perfect photography ?First of all, we must agree about the meaning of perfection. But I don't believe it's essential in photography, the most important being to hold out the idea we have of perfection. What is the most important ? Being able to compute the number of hairs on a wildcat's snout, or to express an expression, a movement, an atmosphere ? I can't answer right away, the necessity of a "perfect" picture being not the same each day.What is my technical approach ?Chiefly, there are two schools : the one who stressly works in laboratory, and the other who says that a photography is fieldworked. My own gait is the last one. Therefore I restrict myself to try finding exact colors and feelings present while I shot, if shades have been faded by the scanner or the digital camera. To me, there are two reasons : at first, I think that it's primordial to capture the right moment of discovery in all the authenticiy of the object. To touch up, it's betraying this first moment, that's to say falsify the precise reason which pushed you to choose this particular instant and this theme. So, a part of your artistic work would be destroyed.The second reason agrees with a more inner thought. So, I try to show that the most ordinary landscapes, the most unimportant in nature are all worthy. I mainly say : "Open our eyes and have a look upon all what's living and dying all around us." Then, it becomes essential that I use only what nature offers me (light, things, objects). This can explain why I refuse any touch up adding to the first vision.In this way and position, what seems important to me, it's the feeling of staying faithful with the moment, whatever could be how exact is the approching the idea we have of truth. This moment is unic. It will never come back. It rejoins our consciousness, and it's already too late because we assimilated it. In that way, the memory work of photography is a despaired attempt to recreate, a running away, and an illusory but fascinating struggle against time which passes.





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