Remi Rebillard Photography

For French lensman Remi Rebillard, it was all near being in the right place at the right time. He attributes his dearest of photography, and his career in the medium, to meeting and working with French flick director Jean Becker, and to his childhood adoration for photographer Giacobetti, whom he really met. Then, visiting St Barts in the Caribbean to meet a friend, he was asked to assist a French lensman on a shoot for a catalogue. But his kickoff piece of luck was being built-in in Paris in 1960, and growing upwardly among actors and artists, in a period of great artistic liberty.

His early assignments, effectually 1991, were with European fashion magazines, such equally Grazia, Amica, Figaro Madame and Uomo Vogue, and in the United kingdom, with Elle and Cosmopolitan. Rebillard and so moved to New York with his young American wife, Cara Leigh, choosing the metropolis for its vibrancy, but splitting his time betwixt the Big Apple and Miami.

He has always been very aware of, and responsive to, light. Even before his photography days, he was fascinated past its abiding shifts and changes, and its effect on different surfaces such as water or wet glass. With the encouragement of others, including Organized religion Kates of Next, he adult a way of working that combined the daylight streaming into his Greenwich Village artist's loft, and strobes with gels.

Rebillard confronts us with emotive and graphic images, creating space between the semi-fictional figure and the viewer. His images project moods, merely inject a destructive quality, as well. He manages to introduce this element to such seemingly straightforward occasions as models wearing skimpy swimwear, so that it's not just another catalogue job. He is able to depict the sensual side of women in moments of grace, using conscientious lighting to highlight the increasing sense of distance between their bodies, and the globe around them.

Even those with their ain private method of expression have been influenced by others earlier them. For Remi Rebillard, it was Sebastião Salgado and Javier Vallhonrat; the German centre of Helmut Newton and the social observation of Beak Brandt; the uniquely feminine style of Sarah Moon; Irving Penn and the Paris-based Italian, Paolo Roversi; plus film director Ridley Scott.

He has been quoted as maxim: "I turn to my dreams, I observe the world around them, and rely on continually learning new things" It may be this that gives his pictures their dream-like quality, blurring the edges betwixt the real and the imaginary, then that we're non sure how much really exists. His colours both intrigue and disturb us.

Ever inspired by fine art, Rebillard uses his camera like an artist's palette. Intrigued by the feelings evoked past desire and attraction, he produces photos that are more similar a story or a film. With his grasp of fantasy, and the ability to improvise, he could actually be an creative person or a motion picture director, teasing out an emotional response from his subject. He can convey the soul of a identify merely every bit easily as that of a person, as in his recent feature, Soulful Photos from Navajo.

Remi Rebillard continues to produce thought-provoking visual essays that convey a sense of fading into fourth dimension and space. The crunch of the American dream, loneliness, a surfer in Solitude by the Body of water, empty deckchairs on the Promenade des Anglais in Nice – all these, and many more, have been recounted in his own photographic language and style. He employs his story-telling style and dramatic flair to remind u.s. of the separateness of our lives. Merely what we encounter also reminds us of the brilliance of his photography.

Photography Inspired By Helmut Newton