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Ricardo Bloch redefines the notion of interior photography by creating books that focus on the beauty in the reality of our living environments.
Ricardo Bloch redefines the notion of interior photography by creating specially commissioned books that focus on the beauty in the stark reality of our living environments.
For the photographer Ricardo Bloch, there is nothing interesting about beautiful but staged interior photographs, the type that you see in an issue of Architectural Digest magazine. To him, the reality of our homes – including worn sofas or unmade beds – is far more fascinating, offering an insight into the lives of the inhabitants. And it is this accurate portrayal of living environments that is the subject of his series of books called Lifescapes.
Specially commissioned by homeowners, a Lifescape book consists of Bloch’s detailed photographs of a house or apartment that focus not only on the spaces but on the placement of objects and evoke a sense of exactly what it was like to live there then. Far more than just a photography project, the books make ideal gifts for families wishing to record the lives of loved ones at a particular time. They are also an emotional document, functioning in a similar way to a wedding album.
With a PhD in biophysics from Harvard, Mexico City-born, Paris-based Bloch seems an unlikely candidate to be redefining interior photography. But his background in science fuels his appreciation of minutiae that has developed his sense for drawing information from the tiniest references. Passionate about photography, Bloch has trained himself to become an expert in the idiosyncrasies of interiors.
As we look at some of his Lifescape books, Bloch talks to us about his keen eye for detail and his love of transforming everyday items into objects of beauty.
Definition of luxury?
Luxury is time.
If luxury were a moment?
It would have to do with some kind of silence, peace and oneness.
A place?
Somewhere outdoors, probably a view of some sort - a garden or the ocean and with the sound of nature.
A person?
My daughter.
An object?
It would have to be something old and man-made. I think the older it is, the more luxurious it is. Having something that was made two thousand years ago is the most moving thing.
What inspired you to first create the Lifescape series of books?
Three years ago I took up my photographic projects again after realizing that this was the only thing that I wanted to do professionally for the rest of my life. I started working for Philosophie Magazine and for the first issue they thought it would be good idea to have a one-page photo feature on the house of a psychiatrist. So I went to a friend of mine and took about 80 pictures of his place. The magazine didn’t think it was so interesting but I was fascinated by how much information we learnt from the images. I discovered that through the Internet you can make a book just by sending the images. The man whose house it was loved the book and was so grateful to have this. Then I made a little book on just my daughter’s bedroom, which has been great because her room is totally different now. From there it has grown by word of mouth.
Do you prepare the houses in any way before photographing them?
When I first showed my wife the book of our daughter’s bedroom she said ‘Oh, I should have tidied.’ But after the second reading she realised it didn’t matter and that it showed the way that we lived. If you leave your shoes by your bed in the morning or at night, I could photograph that in two different ways. I could move them and make a pretty picture or I could leave them and record how you really lived. I think that the presence of the shoes is truer to the life you live. For that reason when I go to people’s homes to make the books, I don’t touch anything. I tell them that when I come they should feel comfortable with the way things look. So if they have a cleaning lady, she should come two days before so it’s neat but life has crept in. There is life in their dirt as well as in their neatness, and in their order as well as in their serendipity. I’m not very fond of photography that creates an illusion that you pass off as reality. The make-believe is not interesting to me. The reality is far more fascinating.
What do you look for when you visit these houses?
My task is to notice as much as I can. Because of my sensibility, I pick up on things about people. Not just because of the books they own but because of the way that their books are placed or how they are displayed. I intuitively pick up things about family dynamics and their interests. When you probe further you begin to notice things like that they have little human statues or lots of photos or paintings of people. Everywhere you look there might be a face, be it a mask or a portrait. The opposite is where there are no human beings and it’s all abstract art, beautiful things and design objects. There is a lot to learn in that.
How do the people who commission Lifescapes react to the final product?
It always surprises them or delights them. No one has ever complained yet. They understand that the book is about a lived-in space. They are surprised because people don’t see their homes the way I do. A biography is always different to an autobiography. I come from the outside with my vision and sensibility, which gives them a view of their living space that is not their own view. The fabulous thing about photography is framing the world. You can take a photo of garbage and it becomes beautiful. I think photography has that ability to reclaim the beauty in the most banal things and transform them into objects of beauty. People rediscover their homes through these books. It delights me when they tell me this
How important is the presentation of the photographs in a book?
What I like about these books is that they’re pieces of art themselves that are beautiful to look at. But they’re also keepers of memories and a record of how we lived. As an object it is useful to the owners in their emotional life in the same way that a wedding album is. Each house demands something different - some need a vertical book, a horizontal book, a thinner book, a fatter book. I’m limited to the techniques I can use, which is a laser printer on certain types of papers. I’d love to make a book on newsprint or recycled paper. If someone wanted to do something extraordinary the possibilities are endless. But at the same time, if I could make these books cheaply, who wouldn’t want one? It would be fantastic to give these to your son or daughter and then in 40 years time they can look back.
How does Lifescapes differ from regular interior photography?
The first difference is that photographers working for interior magazines will try to present the room in particular and they’ll keep a distance from the objects. To them, it’s the space that’s interesting and the only close-ups of objects have references to the value or provenance or where you can buy them. There’s a merchandising factor to it in a way. Secondly, they show the room at its prime. They arrange the space with flowers, casually thrown blankets and artificial lighting. That is of no interest to me. I think there is value to that image because it allows you to dream and that’s what those magazines are for. But I don’t want to make people dream or aspire to perfection. Things are perfect as they are. I try to approach the book in a way that is not about showing how beautiful their house is, but about showing how they live. This isn’t a showcase for your paintings or any sort of collection – there are better photographers for that – but what I record is how the paintings were positioned in the room and what the effect of their presence was on your living environment.
What advice would you give to someone who wants to photograph their own home in this way?
First, I’d say learn a little bit about photography and use a tripod and a camera that has a focus. Don’t use Flash because unless you’re using it properly things look flat. Then, start with one room and see what you can do. There are websites where you can layout the book and have it printed - some of them produce very nice objects. But it’s hard to do this sort of project. Anyone can take pictures of their own apartment, like anyone can do their own wedding photos. But not everyone is technically gifted or has a good eye. There is a certain sensibility and distance required to do this well that most people can’t achieve.
More info:
http://ricardobloch.com/
To commission a Lifescape book contact Ricardo Bloch at contact@ricardobloch.com.