He recently returned from the latest showing of his “Space Project” at the London Art Fair, January 13-17.
“Space Project,” his retro futuristic space odyssey, as well as his earlier "Tour Operator" images, which present an ironic and aesthetic vision of our world in a domesticated landscape, and his upcoming "Underworld" project all present allegories of childhood dreams, mixing reality with science fiction.
“My niche is building complex images that possess a natural fidelity,” says Fournier. “I am curious, patient, passionate and happy about my work. I want people who view it to feel as though they’re inside this world that I’ve created through photography, which forces me to experiment with my craft as much as possible.
The Mars Desert Research Station (MDRS) project was a global exploration of deserts in the American Southwest (Utah is shown here), Australian Outback, Canadian Arctic, and Iceland, July 2007.
“For the work I do, the H3DII is the perfect solution. The color tends to be subtler and softer than with other digital backs, which capture too much color-contrast and are harder to flesh out in post-production. I also love the H3DII’s high-resolution files and sharp detail. Combining these elements is perfect for me.”
Fournier’s ideal lighting situation is the soft light at sunset and dusk. To find these pockets of light, he explores the area in advance, focusing on angles, shapes, and time of day. In 2006, he was chosen by the Mars Society to participate in the Mars Desert Research Station (MDRS) project, a global exploration of deserts in the Canadian Arctic, the American Southwest, the Australian Outback, and Iceland. While shooting for this project in Utah, he scouted out areas the day before to avoid wasting time searching for light the day of the shoot.
“I wanted The MDRS images, which are part of my ‘Space Project,’ to look like historical landscape paintings with a sense of science fiction,” he explains. “My scenes need to look real even if they’ve been set up. For the majority of my work, I use a 80mm lens to bring the background closer to the viewer. For wider spaces, I’ll use several images then stitch them together with Photoshop Photomerge.”
Says Fournier, “I am not a techie, and with the H3DII I don’t have to be. The camera system is rugged, safe, versatile, and convenient. That’s all I need to know.”
For more on Vincent Fournier’s projects, click here
Text by Alice B. Miller