My work on ‘Lebanon in White on Black’ questions about these lost tracks and conceptualizes memorial sites. My idea is to capture the memory of something doomed to disappear or which has never really existed. I therefore on search of this lost time with a feeling of emptiness and abandonment. I call upon memory and imagination through the romantic accents of the landscape. Ruins, stones, fragments, water, timeless characters.
I have selected ‘Lomography’ cameras to accompany me on this fluctuating journey. The past, evoking dreams, imagination and romance, is captured with this modest lomography camera, characterised by all the “faults” that today’s cameras do their best to overcome: lack of focus, poor exposure, inaccurate colours, etc.. Although this camera provides few options in terms of aperture, it does offer users a considerable amount of leeway in terms of exposure times. Furthermore, the film is manually advanced, frame by frame. Such features provide an opportunity to explore possibilities that lie beyond the scope of current cameras. The image becomes archaeological, an approach recalling the effects achieved by pioneering 19th century photographers or certain painters. ”
Today, the technological advances in the field of photography have grown by leaps and bounds. Cameras today produce beautiful, high-resolution images, automatic settings, high-speed shutter settings, etc. Even post-processing has improved immensely, thanks to computers and Photoshop. You can see your picture immediately, so you have the option to delete it or to keep it, an option not available with earlier film cameras. Because of this, everyone can now be a photographer. In fact, it’s almost like spoon-feeding. The question is, ‘Where is the challenge in that?’