October 5, 2020
Photography by Fanny Genoux
Interview by Melanie Meggs
Fanny Genoux is a teacher but photography is now an integral part of her life. She is interested in photography as a whole and has a varied approach, even though as Fanny tells us, she is most fond of street photography. Shadows, lines and abstract forms is what she seeks in her very constructed graphic compositions. This is the photography language that speaks to her. Using the environment as a setting to compose her stories integrating those small details that are synonymous to her style. The human presence is not necessarily direct - it can be a silhouette, a shadow, a material - lost, anonymous in the geometry drawn by the city.
We all know the power of light and shadow, the way they can shape a place, changing it right before our eyes. This is what Fanny has sought to capture with her series, 'Eclipse'. A stunning collection of photographs taken in the beautiful city of Nice, where the light is bright and intense. Through her lens, Fanny has sought to bring to life the impressive contrasts between light and shadow, colour and geometry, the bright canyons created by the shadows of its narrow alleys and its colorful facades.
But there's more to this series than just stunning visuals. Fanny has explored a much deeper concept in her work; something that speaks of transition, of anonymity and of individuality. Capturing the silhouettes of passers-by as they emerge from the shadows only to disappear back into them again. An exploration of how the shadows can erase identity, taking away the peculiarities and singularities of these anonymous figures as they pass through the light of the city.
So join us as we take a closer look at Fanny's remarkable series, 'Eclipse'. As we explore the aesthetic, symbolic and conceptual elements that make this body of work so powerful and captivating.
“I have a deep interest in mankind and his effects on his environment. He is always at the center of my photographs, whether directly or not, by the prints, the marks he leaves, by his constructions, his passage. It can be a silhouette, a shadow or a trace that gets lost, anonymous in the geometry drawn by the cities, the material or the color, one influencing the other. I’m moved by shadows, semi-darkness, lines and abstract shapes.”
IN CONVERSATION WITH FANNY GENOUX
THE PICTORIAL LIST: Fanny please tell us about yourself. When did you start getting interested in photography?
FANNY GENOUX: I am a teacher and a mom of three. I have been interested in art in general for a long time and have always enjoyed making and creating things. Photography has been a pastime for a long time, but paradoxically, it is since I have children - and therefore much less time!- that my art has become more intensive and structured...and above all vital!
Lately, I got more interested in street photography, but I think I have a peculiar approach to it. In the process of photography, all the stages from the shooting to the developing make me happy. Wandering, the first fundamental step in photography, is a moment that I particularly enjoy, even if I often come home empty-handed. I also like this part of "magic" and the fact that we will always come up with surprises, good or bad, when we discover what we have shot.
TPL: Do you have a favourite quote that resonates with you the most?
FG: I like this quote from Matt Stuart “Buy a good pair of comfortable shoes, always wear your camera around your neck.”
I don't know how many times have I blamed myself for not having my camera with me! Or how many times have I had blisters on my feet because my shoes were not suited to my long photographic wanderings...For that matter, I finally got myself a lighter and smaller device that I always carry with me.
TPL: Where do you find your inspiration?
FG: Almost everywhere, looking around me: in the streets, the shapes, the light, the mundanity and the poetry of everyday life.
TPL: Where is your favorite place to photograph?
FG: Everywhere I go, but more particularly the streets of cities and of my city in particular: Nice.
TPL: Has your style of photographing changed since you first started?
FG: Yes and no. Yes, because when I started, I only photographed empty places, exclusively in black and white. Today, I really like color and I always look for human presence, directly or not. My eye is drawn to the same things though: my images are always very composed, constructed and contrasted.
I like the way a photo can enhance reality and reveal poetry where it’s not expected. I also like to build my images.
TPL: Do you prefer to photograph alone or with friends?
FG: I photograph alone. When I photograph, I am totally absorbed and I can stay still and spend hours at the same place. It is not very much fun to be around me on those occasions!
TPL: What equipment do you prefer to use? Do you think equipment is important in achieving your vision in your photography? Do you have a preferred lens/focal length?
FG: I now know my camera well and it helps me to take my photos: I quickly know how to react, but I don’t master the technique very well. I only use the basic settings (ISO, speed, aperture). I think the important thing is above all what we see and how we photograph it, regardless of the device. I have a Canon EOS 7D, I usually use it with a 17-55mm lens. I also like the 50mm very much, but this camera is heavy and bulky so I recently got a smaller one that is lighter and more discreet. It’s a Sony RX100, and I am currently getting to know it!
TPL: Who are your favourite artists and photographers?
FG: I admire many photographers whose works are however very different from Koudelka to Martin Parr, Franco Fontana, Denis Brihat or Bernard Plossu. I am currently partial to the work of Saul Leiter. I also like to discover the work of the photographers from the Magnum agency. Painters such as Hopper or Paul Klee influence me as well.