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Marc Evans

by AdminAg

Marc Evans is to be considered one of the most eclectic and brilliant photographers of today in the field of glamor, fashion and seduction

Written by Luca De Nardo

 Always a freelance photographer who led him to travel the world and collaborate with prestigious magazines in the sector, today he has chosen the capital of fashion, Milan, as the city for his photographic art.
In his biography, Marc says that already at the age of 8 had understood that his future would be photography.
And we want to start from this premise.

Marc, we were intrigued if not fascinated just how, at your tender age of 8, you already understood how photography would become your lifelong companion. What happened, what did you guess, what prompted you to choose your future path as a photographer in such a determined way?

I was shown a book by Helmut Newton. From that moment my fate was sealed. Till today 30 years later my work is influenced by him.

Marc, it is evident that in your photography there is an inspiration to Helmut Newton. It is equally evident, however, how you managed to overcome it, making Newton’s alphabet your own to tell and propose something absolutely new, almost revolutionary. Your stories have a clear personal vision, where your ability to perceive a female world is never casual but reasoned and studied, managing to change paradigm and dialectic. The dynamism of the scenes, the compositional senses that take on strong and fast spaces and depths, the skilful use of lights and above all of shadows.
What are the founding elements, your thought of the world that you tell with your photography with surprising strength and tenacity?

My goal is and has always been to not show a pretty girl in a pretty dress, but to tell a story with every photo I take. Before the shoot there is a lot of thought going into it. Yes, my photos still have Newton’s influence but it’s never a copy of his work. For me it’s important to tell a story, not just to take a pretty picture.

Marc, you know the diatribe (perhaps useless and affected) between black and white or color photography. In your case it seems that this problem does not exist. You jump from a color photo to a black and white photo with devastating ease.
What is a color photo and a black and white photo for you? And when (and why) does a color and a black and white photo arise in your artist mind?

Unlike a lot of other photographers, I know before I take my camera in my hand if the photo is black and white or colour..
Call it experience or just storytelling.
Like I said before it’s important to have all the photos in your mind before you go on set. The pictures you see here in this issue were in my head 3 weeks before I even took them.

Marc, one more question, perhaps the most difficult.
Telling “the Woman” and the imaginary world around her is already difficult by definition. Doing it with a single image, almost an impossible task.
So, what Woman is for you, what characterizes her charm, where does a woman’s ability to seduce come from? It is clear that you are in love with the female world in a unique way. We would love to hear about your vision.

This question is not difficult at all. Most photographers I know project their own desire on every model in the same way.
This is wrong, very wrong.
Every woman (no matter if tall, short etc) has her own and individual character. 90 percent of the time I shoot girls I have never met before and will never meet again. So I take my time during makeup to talk to her, to try to find out in a very limited time who she is, what makes her tick.
I try to shoot her personality, not just her body. Shooting a big job is totaly different.
In that case I book the model who fits my story the most. It’s a big difference if you shoot a girl for herself or if you shoot a paid campaign. In any case if you disrespect the girl you are working with or just see her as an object better cancel the job.

One last question Marc.
It is indisputable your voracious ability to produce images of great charm and about the extraordinary world of women .
How do you manage to create new ideas, formulate new rules, compose new stories, without falling into a sort of dialectical dejavu?

Because photography is in my blood.

.

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