Alright – so today we’ve got the honor of introducing you to Manuel Besse. We think you’ll enjoy our conversation, we’ve shared it below.

Manuel, thanks for joining us, excited to have you contributing your stories and insights. We’d love to hear the story of how you went from this being just an idea to making it into something real.

To make my dream come true, I chose to focus my studies on images and the arts. After passing my Baccalauréat, I entered the École Nationale Louis Lumière in Paris to acquire solid technical knowledge. I also continued my training at the École du Louvre and the Académie Charpentier, while pursuing a doctorate in ethnology devoted to primitive Oceanic religions.

During these years of study, I took part in a number of photographic competitions, winning mentions and first prizes, which enabled me to build up an extensive portfolio. This work opened the door to freelancing, enabling me to collaborate with prestigious agencies such as Sipa Press and Cosmo International, as well as other agencies specializing in the culinary arts and oenology. These early experiences were decisive: they gave me the opportunity to meet press agency directors, who then entrusted me with more human-oriented assignments.

In the early 1980s, I undertook several trips to South America, a region that deeply attracted me and that I have always considered to be my Eldorado. In the Amazon, I began documentary work on the Yanomami tribe and explored the state of Amazonas, which was still little documented at the time. As a Frenchman, I also took part in the gold rush in the state of Pará, at Serra Pelada. These striking experiences forged my specialization in South America, a territory at the heart of my work.

Awesome – so before we get into the rest of our questions, can you briefly introduce yourself to our readers.

When I started out as a full-time photographer, my main aim was to maintain total independence, which is essential for freedom of action, a fundamental aspect of this profession. All too often, customers tend to categorize photographers according to specific fields of activity, a mistake in my view, because photography is a plural discipline. To pigeonhole a photographer is to stifle his or her creativity. You can excel in several themes and still find coherence.

The essence of this profession lies in the ability to go beyond technique (to devote oneself to emotion and intensity), while mastering it perfectly. This requires a rigorous apprenticeship to get as close as possible to the desired atmosphere. Every photograph is based on a delicate balance between several parameters: precise framing, the right optics, the perfect moment, the right light for the desired mood, and above all, a respectful approach to the subject.

In street photography, I strongly recommend avoiding stolen shots: they lack authenticity, and emotion is often absent, where aesthetics are valued. Ethics must always come first, that’s the golden rule. When I’m asked which diaphragm to choose, or which brand of camera to opt for, I reply that these technical considerations are secondary.

What really counts is the subject and the intention. In this respect, Robert Capa’s famous phrase sums up my point of view perfectly: “If your photos aren’t good enough, it’s because you’re not close enough.”

Unlike other sectors, a photographer’s reputation is not measured by the number of fans on social networks. Rather, I gauge it by the quality and quantity of the exchanges I receive every day: emails, private messages, requests for technical advice or approach, particularly on how I photograph the homeless. Many photographers contact me to discuss their work, relying on my feedback to help them progress.

However, success also has its downside. The envy and jealousy of some anonymous people can lead to attempts to destabilize them, which nevertheless fail in the face of my experience and serenity. Over time, I have forged my own visual and narrative style, applicable to a wide range of fields: haute couture, documentary, advertising, landscape, urban and conceptual photography.

In recent years, my partner Pénélope Fiorindi and I have founded a publishing house and magazine dedicated to photography. Our publishing house, A DOG DAY AFTERNOON, highlights my work on a variety of subjects. At the same time, I exhibit in prestigious venues around the world and run Masterclasses, mainly in France.

I’m currently preparing the release of three photographic books entitled MACADAM, a series devoted to my recent work in the United States and South America. This trilogy, the fruit of four years’ hard work, captures urban portraits of marginalized people and drug addicts in New York, Los Angeles, Detroit, Rio de Janeiro and São Paulo. These works will be the subject of future exhibitions, consolidating the impact of this project.

Finally, one of my photographs, taken in New York City, John E. Davis, won first prize for black and white photography in June 2024, awarded by the prestigious AAP Magazine in Los Angeles. A recognition that illustrates the culmination of my efforts and my constant quest for excellence in the art of photography.

Any stories or insights that might help us understand how you’ve built such a strong reputation?

Perseverance and hard work are the key words in this profession. There are other well-known street and portrait photographers. However, I’ve found that there’s a lot of ceremony involved in taking photographs, and that the shots lack authenticity and spontaneity. Photographers too often make them pose, whereas I immerse myself entirely in their daily lives. The solution is to immerse myself in their daily lives. When I go to a favela, I don’t go as a tourist, just for an hour, I immerse myself in the place for several days, staying on the spot. Photographing is like “going on the hunt”, pacing the streets for days on end, enduring insults and aggression. But it’s all about beautiful encounters. This synergy between the subjects and myself is reflected in my photos.

Is there mission driving your creative journey?

This is a very complex question. But the first thing that comes to mind is lack. Rarely have I found among my photographic contemporaries the aesthetic idea that fascinates me: a brutal image, not in the action, but in the treatment of the image. I’m convinced that violence is everywhere, just waiting to emerge in a split second. It’s deeply inscribed in the DNA of human beings and all living things. Over time, I’ve come to realize that I’m a veritable catalyst of the moment. You have to protect yourself, armor yourself, and receive this violence like an uppercut. It’s up to me to dodge it. This violence resurfaces weeks and sometimes months later, when the images are selected, like repeated mourning. This world is a Greek tragedy, a Shakespearean drama; we are ghostly images of a negative waiting for its developer before the final shock. My mission is to bear witness to this reality!

Contact Info:

• Website: https://www.manuelbesse.com/
• Instagram: https://www.instagram.com/manuelbesseofficial/
• Youtube: https://www.youtube.com/@manuelbessephotography1618
• Other: https://fr.pinterest.com/bessemanuelpierre/

Image Credits

Manuel Besse