Posted by Gaétan Charbonneau on March 29, 2016
Posted by Gaétan Charbonneau on May 22, 2015
My work just got published on the MAGNUS fiction book cover, from french author Sylvie Germain in South Korea. As it is often the case with the Munhakdongne publisher, the graphic design is pure and simple, a joy for the busy eyes!
Posted by Gaétan Charbonneau on February 17, 2015
Héloïse d’Ormesson edition has used one of Gaétan Charbonneau’s images on Marc Michel-Amadry upcoming novel. A second book cover from Héloïse d’Ormesson edition.
Posted by Gaétan Charbonneau on August 17, 2013
Sage publications is publishing this book with an image of mine on the cover, schedule to be released in December… were ahead!
Posted by Gaétan Charbonneau on April 29, 2013
Here is my last book cover image, in store June 13th. Always great to grace the front cover of a novel. Everytime feels like the first time!
Posted by Gaétan Charbonneau on October 4, 2012
Roots, Lorraine, Quebec, Canada. All rights reserved, Gaétan Charbonneau ©/Millennium Images.
I often find interesting highly conceptual nature images done with artificial light, from an artistic point of view. It is not only the stark contrast of nature vs controlled lighting and enhanced computer imagery , it’s also the classic duality of nature vs artificial setting/urbanization that makes the idea more interesting when treated with this aesthetic point of view.
Posted by Gaétan Charbonneau on October 4, 2011
3 button intercom, Montreal, Quebec, Canada. All rights reserved, Gaétan Charbonneau © /Millennium Images.
For street photographers, the exploration of new surroundings does not stop to exotic places and big city structures. It goes well beyond the decor and always reach the line of cultural differences when it’s time to press the shutter. Of course each photographer will have it’s own approach, some are less “in your face” than others in their own body language and image making tactic, and that’s the part A of the equation. Part B is the interaction with the locals and their attitude towards photography. In my traveling experience, the southern of the hemisphere I went, the more the people were acutely “aware” of their immediate surroundings. Some clearly overreacted, and some other people were down right paranoid in regards to the motive of my photographic ventures. In some cases the explanation that I was an artist just didn’t cut it… and I must admit that explaining why I took a photo of an intercom (at night) can sometime raise eyebrows.
In some of the places I went, I could sit on the sidewalk to take a picture and most would barely noticed, each going his own way as if sitting on the sidewalk was perfectly acceptable. Eye contact also varied greatly from one place to another. In Spain for instance, I felt that madrileños responded in keeping eye contact a lot longer than most of the other places I went, and much longer than the eye contact I can have in my own native town, Montreal where the contact is a lot shorter and less direct, in the context of street photography. In the end it’s always intriguing to see what can be attributed to the size of the city, to the culture, and to the photographer attitude. All the spices that makes street photography one of the most interesting way of seeing the world.
Posted by Gaétan Charbonneau on January 3, 2011
The Mirror, Montreal, Quebec, Canada. All rights reserved, Gaétan Charbonneau © /Millennium Images.
Yesterday I picked up the magazine where this image actually appear, Tricycle/The buddhist review, winter 2010. On these occasions I always have flashes of the state of mind I was in when I created the image. Sure enough the tittle of the article is “Mind like a Mirror/ The shimmering reflections of consciousness“, written by Andrew Glendzki.
I recall that at the time I was literally driving with mirrors in the back of my car, not quite sure how I would craft my final ideas. It didn’t pop up immediately, I had mirrors on the grass, under my harms, pieces of mirrors broken on the sidewalk and a couple of other concepts. The only thing that kept me searching for an idea I could be happy with, was my habit of printing my work, and looking at my prints side by side. It was the continuity, the flow of my mind looking for something, but not quite getting there that I could see on these prints. The only thing I could understand clearly was that I was getting closer with every picture, hence the final idea that appear here (model Brandon Queen holding the mirror).
That is precisely the point with editing. Of course it is to select the so-called final image(s), but it is above everything else, to see hints and traces of the future work that will take form. This method make sense for me, even (especially!) in an age where computer screens are taking away so much of our attention. Who knows, working this way might even be a revelation for those who never tried it out, a bit like having a shimmering reflections of consciousness… !
Posted by Gaétan Charbonneau on November 17, 2010
Le Boulingrin, Montreal, Quebec, Canada. All rights reserved, Gaétan Charbonneau ©
I was looking at this image recently, and I went along thinking about the decisive moment, the concept elaborated by Henri-Cartier Bresson, a pioneer in the history of photography, one of the greatest photographer of our time.
This notion is embedded with a number of interesting nuances. The first thing that comes to my mind is the fact that there is a very fine line between the decisive moment and what I would call the expected moment. If one stand on a street corner with a well composed visual background and wait for an interesting silhouette, perfectly profiled to fit a predetermined space, does this stand for a decisive moment, or does it become more of a expected moment?
The idea of the decisive moment has been explored long and large, and could be ready to morph into higher grounds. For the sake of clarity, how can we describe a more precise notion of the decisive moment, while remaining faithful to the initial principle that something can never happen twice in the exact same way? How about the unexpected moment? Something that would distinguish planned imagery disguised as being something related to the decisive moment. Of course there is nothing wrong with that, what’s unclear is tagging a concept for something else, stretching the definition just a bit too far to remain true to the principle.
So, from now on, let’s reach for this ever elusive unexpected moment, just like this great image that went so fast in front of my eyes, and that I missed last weekend…
Posted by Gaétan Charbonneau on November 10, 2010