Bio: You might say I'm a self-made photographer, but the truth is I studied by working as an assistant for a well-known car photographer in the early 80s. Cars reflect everything that surrounds them, as I found out in many incidences how light can bring a piece of metal to life. Not the worst school. But I soon realized that photography had not that much to do with techniques. It looked to me quite simple: all you really needed was an eye, preferably related to a brain. Once framed, anything could make an interesting picture.

I turned to advertising photography nearly from the start, leading me to understand something else. It wasn't about what you see, or even how you see things anymore, but about how you wanted things to be seen. Pictures with a goal. There I signed! But I rarely translate a concept strictly as it has been drafted. I would feel useless. I try to capture the idea, then look for the best way to improve it into an image. Concepts are my food. And I've got quite a fragile stomach!

When you think alike together with an art director, you realize how much further it can go. With a weak idea, the best you can do is a very nice picture. It happens. On the other hand, a truly good idea can always be transcended by its formalization. What you have to do is get the whole picture in your head before starting to work. From there it's easy. You just have to put the pieces together to get it the way you've seen it. Wrong. Here is where it really starts; you perceive other opportunities. And you can't resist to experiment new ways. You'll often opt for a totally different one. You're an eternal beginner. Stupid? That's what you're paid for! To re-invent your job every time. That's probably why you can spend an entire life doing it without being bored. If you're unlucky, like me, being a detail-maniac freak, as you're one of those who truly believe that small details can make a huge difference, you'll probably need a few more lives to imagine reaching pretense of satisfaction!