Who’s your favorite person to photograph and why?
There isn’t anyone in particular, really. I mainly shoot pictures of friends and family, people I feel comfortable being around. A serious portrait requires, for me at least, at least some mutual understanding. Furthermore, in order to be comfortable both the subject and the photographer must be able to ignore the slightly absurd idea of posing for a picture…
You are shooting both personal and editorial work. What would you say are the aspects of both situations you prefer, and the ones you least enjoy?
I rarely shoot editorial, sometimes I wish I’d get to do it more often, it’s fun and it improves my rather miserable cash flow. However, I still find it very hard to photograph anything that I would not normally consider to be interesting enough. It can also be quite depressing to find that an editor fails to pick the best photographs for the final cut.
I’m essentially an amateur, as in someone who does something out of love for the act of doing it. I carry a camera around everywhere but often go for days without shooting a single frame. That’s what I like about personal work; I can do whatever I want, but I don’t have to do anything…
Can you explain and describe your series At the edge of the miraculous? What was the series background? Why this title?
At the edge of the miraculous is a series, small but always growing, of basically unrelated photographs. Each of the photographs has something about it which I consider to be out of the ordinary, a small insight into the beauty of life that is just below the surface wherever you look, as long as you are prepared and in a position to enjoy these little things. The title is from a quote by the American author Henry Miller: “We live at the edge of the miraculous”, which perfectly captures how I feel about life when I’m in a good mood. Though generally I feel more like “l’enfer, c’est les autres”…
What do you think was the photography book that influenced you most?
I have quite a lot of photography books, but none of them influenced me more than Ed van de Elsken’s “Een liefdesgeschiedenis in St. Germain des Prés” (Love on the Left Bank). I bought it a long time ago, when I just started taking pictures. For a while I tried to take pictures like van der Elsken, but nowadays I mainly love it for its overwhelming artistic energy (full of pretention without ever being pretentious) and its beautiful depiction of postwar Paris.
If you could photograph absolutely anything, what would you shoot?
If I ever become a real photographer, which I doubt, I’d love to shoot an immense but coherent body of work about Europe.
You seem to be very prolific. How much of you work do you edit, and what process do you go through?
I wish I shot more though. And sometimes I wish it was a bit more focused, less singles. It’s rather straightforward: I shoot a few rolls, go the lab, get/make scans, throw online what I like or hold it back for a while and then upload it out of boredom. Prolific, maybe, but not profound in any way.