Once again, we are pleased to greet the analogue duo Izberg in our Magazine! Following the photos they took in Danemark with the LC-A+ et le LC-A 120, and with Diana Baby on the Atlantic coast, Izberg signs this delicious series produced in Royan with the Lomo'Instant Square Glass !
Hello to the both of you, we meet again for a new project. Please tell us what has happened since our last collaboration?
A : Since our last collaboration (the series with the Diana baby on the Atlantic coast ), we have quite evidently pursued our analogue path, but on the professional aspects, we have gone back to our primary activities, so to say architecture on my side and artistic direction for Florian. Also, after a few months of hesitation, our e-shop should see the day by the end of the month.
F : On my side, I also produced two photographic documentaries: one of them during a bike ride from Paris to Tonnay-Charente, a small city in Charente-Maritime in which I grew up. The other was during a long week-end in the Clarée Valley in the Haute-Alpes department. These two projects will soon be auto edited, and will be available on our e-shop.
You have made this series with the Lomo'Instant Square Glass in Royan, why this city in particular?
F : Royan has a special place in my heart. Indeed, I have spent most of my summers there since I was born.
As the years went by, I gave this passion to Agathe. We are both passionate about architecture and the codes found by the seaside. For a long time, we have wanted to realize a series of images on the subject!
Your images are very composed and geometric. How was it working with the square format when taking photos?
A : Indeed, it is one of the particularities of our work, we place high importance in the framing. We make most of our images with 24x36 cameras, this type of format is unusual for us. However, the square format allows for a strict framing and it then becomes interesting to compose the image as an exercise. Furthermore, it is perfect as a means to isolate a visual detail, as we enjoy doing.
What are your influences and inspirations?
A : We are particularly influenced by artists that put forth details in everyday life. For example, we can speak of Italian photographer Luigi Ghirri's work Kodachrome.
F : The importance given to composition in an image is above all in our work, so we are also very sensitive to the works of cinematographers like Wes Anderson.
Finally, we enjoy the documentative and systematic approach of artists such as Bernd and Hilla Becher. More recently, we have discovered the work of photographer Eric Tabuchi and his "Atlas des Régions Naturelles", which makes a photographic inventory of buildings of all kinds, found in various regions in France.
In your opinion, why do we pursue analogue photography today?
F : Lately, we can see a clear regrowth of interest in analogue photography, and it seems as if this movement goes beyond the photography and encompasses all analogue practices in general. It is the case for example for music with the return of vinyl a few years back or in the domain of cinema with the re-edition of the Super 8 camera by Kodak.
These phenomenons occur because of trends that we cannot contest, but it also symbolizes the public's interest in consuming and producing images in new ways. In the age of social media, we are constantly drowning in daily images, novelty... Each day offers a new idea which chases the older one away, and so on... It seems as if this practice echoes with a general will to slow down, to give higher value to a smaller amount of things, including photography.
A : The simplicity of usage, the rapidity of digital cameras and phones have certainly revolutionized and democratized the practice of photography, but we will never be able to fully replace the craftsmanship and sensitive aspects of analogue photography. Our generation has grown up with cameras that our parents took out on special occasions such as holidays, weddings, birthdays... All that has participated in creating a bond with a medium that encourages us to continue in that path today.
Do you belong to the analogue or the instant photography team?
F : We tend to go for analogue. Firstly because we have started photography with this medium and that we have used it for a fair amount of years, but also for the the temporal dimension it detains that makes it so mysterious. The fact you have to wait to see the results places us in a different position than for instant photography and the choice of images is a result of this.
A : That being said, the instantaneous aspect that we experimented with in this series made sense. The very medium echoed with the location that we photographed. Royan represents a place full of holiday memories and the images produced with this type of camera reinforces this notion of souvenir.
What pleased you the most in the Lomo'Instant Square Glass ?
A : It was undeniably the format, quite similar to the polaroid 600. The camera is very easy to use and allows the photographer to focus on the most important : the subject of the images.
Why did you name yourselves Izberg?
F : We were looking for a name that had a universal touch to it and rather linked to nature (rain, wind, the sea...). We thought of ICEBERG for a while as this element fascinated us but seemed to imaged. The translation in French was isberg, and the name existed already so we simply changed a letter: IZBERG was born.
What are your summer plans ?
A : This summer, we will be travelling around France with our little Van, taking photos, discovering new places, shutting off from our life in Paris...
We will seize this opportunity to set up a new project : a micro-edition that will gather a selection of our photographs.