"Henri Cartier-Bresson
To me, in a fraction of a second, photography is the simultaneous recognition of the significance of an event.
WHAT ARE YOUR THOUGHTS ON THE ROLE OF THE SPORTS PHOTOGRAPHER?
We are here to document a certain performance in time. There is not necessarily a medal at the end of the shoot, but we try to get the feeling through studying movement and perspective. We are recording and capturing iconic moments in history that either exist or that we create. Very often, when I take photographs, it is not within a competitive context. It is to recreate an iconic moment and to give a feel and impression of what the athlete's performance was about. Photography is always relevant. It is an everlasting impression and if forces the viewer to imagine a state of mind, anticipate what's to come.
" MARC LECUREUIL
Photography is always relevant. It is an everlasting impression and it forces the viewer to imagine a state of mind, anticipate what's to come
I don't really look for the perfect movement in the sense of the amplitude and technique. I try to find a burst of energy - the movement that is most significant. The body does not have to express full movement or extension, but there is a significant moment where the body says something aesthetically and symbolically. There is an elementary particle of movement, a very quintessential moment- where the light, the shape of the body, the intensity of the expression, the perspective or the image, is in synchronicity and harmony.
" MARC LECUREUIL
There is this moment where the intensity is exploding, and it is almost like the big bang"
"HENRI CARTIER-BRESSON
To me , in a fraction of a second, photography is the simultaneous recognition of the significance of an event.
HOW DO YOU PREPARE TO TAKE PHOTOGRAPHS OF SPRINTERS AND HIGH SPEED SPORTS WHERE THE SUCCESS OF THE COMPOSITION RESTS ON A SPLIT SECOND?
Photography shoots are not necessarily motion pictures- not everything is planned. Very often we have little time, just a few moments, to find what we are looking for, and I often find it. If not, I find a way to capture another image that will be equally symbolic. For example, when you look at photography of the Olympics, most of the framing tries to capture the intensity of the eyes and the facial expression.
" MARC LECUEUIL
All bodies, like all people, have different ways of expression- an original impulse
"MARC LECUREUIL
When you work with an athlete of this calibre you have to come prepared
The first time I saw him was for a magazine shoot in New York. I have done a few stories with him, but the most successful was the 'Bolt of Lightning' shoot where I took photos of him as he was training on the track in Kingston early in the morning. The idea is you have to find a symbolic image. I was amazed by his body, he looked like a Rodin statue in motion. His body looked like it was carved out of bronze. His sheer size was impressive and I wanted to translate that. I am always amazed by the sense of discipline these athletes have, to sculpt their body to fit the demands of the sport.
I chose not to focus on his face and his expressions, because I thought that is something that has been seen many times. It's a very interesting subject of study, I almost approach photography like a painting where I am the painter.
WHAT OTHER INFLUENCES HAVE SHAPED YOUR APPROACH TO PHOTOGRAPHING THE BODY IN MOTION?
I really love sport, especially contemporary dance. I find it a fascinating subject. Not a very long time ago I saw this great documentary about this Israeli choreographer Mr Gaga and it had a great influence on me. I could relate to his approach and his way of directing-his sheer interest and obsession with the body and the movement.
Architectural photography has also been a great influence to me. My father was an urban architect so I have always been surrounded by drawings, perspective and symmetry. I love to incorporate architectural elements, such as the texture of buildings, into my work and try to find some correspondence with the body and it's surroundings. I try to place the body and movement within an architectural context, so there is an interaction between them. This serves to either enhance the movement or to stylise the movement in some ways.
"MARC LECUREUIL
I always try to find grace in movement, whatever the sport.
Marc's work has featured internationally in exhibits and publications such as BIG, TRACE, VICTORY JOURNAL, GRAZIA, TOKYON, BLACK RAINBOW, GQ, SELECTS, STARK LIFE, WAD.....
His advertising clients include PUMA, NIKE, ADIDAS, LE COQ SPORTIF, RENAULT, REEBOK, OPTUS, COCA-COLA, DISCOVERY.....
Marc is represented by Global Assignments Agency and available for commission
