Nature and Movement: The Cinematic World of Mehdi Decerle

Mehdi Decerle sets his camera in the heart of the Burgundy countryside to capture a dance performance by Anya Masson – a project at the intersection of cinema and choreography, enhanced by our Neptune Convertible Art Lens System and New Petzval 58 Art Lens.

Hello Mehdi and welcome to Lomography Magazine! Could you introduce yourself to our community?

After studying cinema in high school, I naturally continued my education at a film school in Lyon (Cinéacréatis). Since then, I have specialized in capturing images, whether with a camera or a photographic device. Having grown up in the Burgundy countryside, I returned here after my studies because this is where I find the most inspiration.

How long have you been making videos? What role does your passion play in your life?

I started filming during my senior year of high school, five years ago. It's the activity that drives me the most. Whenever I see a light or a frame that speaks to me, I take the opportunity to capture some footage or photos. I often compose with what's in front of me without necessarily planning it in advance.

How did you prepare for this shoot? How did you envision the video?

For some time now, I have specialized in dance films because I am passionate about movement. During a shoot, I had the chance to meet the dancer Anya Masson. From there, a project was born because we share the same passion for nature and wide-open spaces. We decided to film in the countryside around my home, where the environment spoke to us the most. Anya and Hugo, my editor and composer, came to stay at my place to create a narrative framework. The goal wasn't to have a shot-by-shot breakdown but rather a general idea that allowed for inspiration and improvisation on the set.

Did you encounter any difficulties during this shoot?

The photoshoot took place in January during the severe cold snap we experienced this year. The outside temperature was around -10 degrees Celsius. In such cold conditions, movements are always more challenging, whether for me with the camera or for Anya, who had to adapt to the situation.

With the cold, my bag left on the ground would get covered in frost between each shot, which lasted no more than 3 minutes. One of the biggest sequences took place in a field surrounded by an electric fence. Several times, while focused on the shoot, we got an electric shock.

What did you think of the New Petzval 58 and the Neptune Convertible Art Lens System ?

Regarding the Petzval 58, I made extensive use of the bokeh control system because it allowed me to mimic Anya's movements with the camera. Additionally, the swirling bokeh created a dreamlike atmosphere with the distortion of the trees and branches that formed our background.

For the Neptune, I greatly appreciated the contrast of the optics. I used it extensively during our sunrise sequences, aiming to create a scene where Anya becomes a sort of projection of the sun in the background. I was captivated by how the two lenses complemented each other perfectly and illustrated what we wanted to convey through dance.

What advice would you give to our Lomographers who want to use these lenses?

For the Petzval, I would advise Lomographers to consider the construction of the background, as even with a subject, the lens makes everything come alive. As for the Neptune, due to its modular focal range, it is self-sufficient and does not require bringing additional lenses.

What can we wish you for the future?

I hope that this project opens the door to many more. I would like to participate in larger-scale projects with themes of nature, movement, and vast landscapes, whether here or elsewhere in the world.

Thank you to Mehdi for sharing the behind-the-scenes of this shoot! Discover more of his work on his Instagram account and stay tuned for the release of his dance film.

2025-04-29 #gear #people #dance #portrait #art-lens #petzval-58-bokeh-control-art-lens #neptune-convertible-art-lens-system Share Article