I am passionate about jazz music and regularly attend concerts. My presence as a concert photographer during the show is mostly only during the first three tracks. The photography of concert is in fact a discipline demanding considering the conditions in which it is practiced (weak light, subject in motion ...). Only a few seasoned professional photographers succeed in taking artistic photographs worthy of being drawn as a work of art.
I present in this series photographs taken from what I call my "Jazz'art" or "the art of telling" in concert: it is a time of freedom, where I visit according to my personal journey the compositions that are me Expensive: work on the movements and on an impression of overprinting due to the jerky zouming, or a jet of displacement of my camera at the time of the shooting.
Here the golden rule almost no longer exists. In general, the subject is placed most often at the intersection of the golden number. By the positioning of the musician in the frame, I ended up moving this charge which is incumbent on him towards the aesthetic charge of the image. The man instrumented by the image, accepts its sound and its false note, it carries the aesthetic charge of the photograph. Parallel to this invisible grid of composition, I make perceptible other chimerical grids by the repetition of the character associating the dark and clear masses of black and white, forms and materials.
Indeed, if I make the choice of black and white photography, it is to oblige the viewer to concentrate on the analysis of the situation represented, whereas color photography especially when it is bright tends to focus it on An aesthetic perception. That's why, I often devote myself to black and white photography, it is stronger than in color.

Jazz'Art by Rodolphe Labrador

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