We all have different reasons for purchasing the gear we do and switching to a different system when we feel the need. Some people have called me crazy and others smart for having switched from Phase One to Fujifilm. What follows is...Read more
David Meaux is an international landscape, nature, still life and architecture photographer based in southern France. Having the goal of expanding his photography business to France and Europe and being an American with French heritage, he decided to...
About David Meaux
David Meaux is an international landscape, nature, still life and architecture photographer based in southern France. Having the goal of expanding his photography business to France and Europe and being an American with French heritage, he decided to relocate to the Hérault department in Occitanie in 2017 with his wife, who is originally from France, and his two children. Throughout the years, he has had the opportunity to work with architects, project managers, contractors, designers, wineries, distilleries and restaurants. This wealth of experience has helped diversify his portfolio, perfect his skills and refine his artistic expression. He recently opened his own fine art gallery in Saint-Pons-de-Mauchiens, which features photographs from Occitanie and beyond. He holds an Associate of Applied Science degree in Photographic Technology from Randolph Community College in Ashboro, North Carolina, USA. He also holds a Bachelor of Arts in Journalism and Mass Communication with specializations in Photojournalism and Multimedia Design and a Master of Arts in Geography with specializations in Remote Sensing and Geographic Information Systems (G.I.S.), both from the University of North Carolina at Chapel Hill. David leverages this foundation to deliver master-crafted images that capture the essence of places and spaces while meeting the technical demands of architectural and landscape photography. Ever since a young age, photography has always been his passion, as much for its artistic side as well as its technical side. Photography offers him a way to express his artistic vision of the world and the beauty that surrounds us as well as prolonging short-lived extraordinary moments in time. His photographic style is minimalistic centered on geometry, color, light and texture and placing emphasis on the spirit of a place or an object. His work is characterized by his ability to balance technical expertise with personal attention to quality and details. He is available for work in France, Europe, and worldwide.
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AuthorTopic: My Journey From Phase One To Fujifilm GFX 100 Read 0 Times
ParticipantPosts: 2My Journey From Phase One To Fujifilm GFX 100on: February 1, 2020 at 3:02 pm
Thank you for reading my article and for the compliments. The Fujifilm GFX system is great, but it has to be the right thing for you. It’s worth considering if you’re in the market for a completely new system.
ParticipantPosts: 2Re: My Journey From Phase One To Fujifilm GFX 100Reply #1 on: February 1, 2020 at 2:50 pm
Hi Ysengrain Wolf,
Thank you for reading the article and taking the time to comment on my work. I appreciate your critique of my work and would like to note that all of my images are my artistic interpretation of what I see, and most are time blended images. While I do not make any claims that my images are documentary photographs, I only use images from the same photo session and do not composite skies or other elements from other places or sessions. The images I used for Saint Guilhem were all taken between 6:10 a.m. and 6:27 a.m. on September 16, 2018. The base image is from 6:23. The foreground has been lightened and the color balance shifted to cancel out the blue from the early morning. The sky is from a 2-second exposure taken at 6:22, and the saturation of the colors has been increased, maybe a bit more than Fujichrome Velvia film would have increased the colors. The light on the upper part of the mountains is also from the 6:22 image. The lights on the buildings are from 6:10, and the light streaks are from captures between 6:24 and 6:27. I also cloned-out several cars in the parking lot, and did several other adjustments for contrast and color.
So, yes, this is not an accurate representation of any one point in time. It is, however, the sky that was there that morning, just more accentuated. It is also my artistic interpretation of a blending of time (and therefore light) from about 40 or so minutes that morning. I would argue that it is no more a distortion of Saint Guilhem than Vincent Van Gogh’s paintings are of areas around Arles. I am in no way comparing the level of my work to Van Gogh but am merely comparing the difference between reality and the image in each case. I would also like to note that most of the people who visit my gallery are locals who very much love the region where they were born and raised and that the vast majority of those people compliment me on the work. Seeing the image of Saint Guilhem for what it is, almost all of the people who have bought prints of it are locals who appreciate it being captured in a way they have never seen before.
It is this different way of seeing things – a different perspective, a different emotional response/experience – that I try to bring to my images in order to push them toward being art. As others who use similar techniques have said, I use the digital tools that we have available today to communicate my artistic interpretation of the natural world in a way that enhances the subject, or as the locals here say, “sublimer les paysages,” meaning, “to make landscapes sublime.”