Fanny Latour-Lambert has a natural talent to capture emotions, movements, souls, and what we were looking for for our COLLECTION NUMBER TWO, smiles and laughs! To us, Fanny Latour-Lambert was the perfect choice for Alfred Kerb’s second campaign, “LA PÉTANQUE” and we are beyond delighted to have her on board.
You are mature beyond your years, was it hard to dig in at your age in the industry?
I think it was more about blending in than digging in. I’ve been trying to be quite discreet about my age and won’t speak about it with the people I work with except if I get asked. I obviously look young but as long as no one can really tell if I’m in my early or late twenties, it is fine 🙂 I am of the shy type when it comes to sell my stuff. I’ve never written to any magazine or any agency before I got signed. I was like, if no one contacts me, if I am not shooting for this or for that, it’s because it is not the right time for me and I need to work harder and shoot more. It was all one step at a time.
Fanny, tell us the story of your first camera.
I don’t really know how the initial idea of getting a camera became so obsessive. I remember trying a reflex camera for the first time at age 14 during an afternoon in a park with some friends of mine, and after that day the idea grew on me till I started begging my mother a few months later to get me one for my birthday. The cheapest one was still very expensive for a girl my age, and a pretty big gift, and she was not up for it in the beginning but after several times speaking about it and making a “only present for the whole year” kind of deal, I think she felt how important it was to me, and that it was not going to be something I’ll stop using the next month. So a week before my 15th birthday, I got my first camera.
Which photographer would you say has had the most influence on you?
I think the first photographer I remember has played a big role in my initial influences is Cristina Garcia Rodero, and more precisely her photography book “España Occulta” that I found in my parent’s bookcase round age 10. A lot of my influences also came from similar photographers such as Joseph Koudelka, Mary Ellen Mark, Diane Arbus that I discovered when I started taking my own pictures… nothing much related to fashion photography actually.
Your images exude edgy, spontaneous and intimate energy, connexion with the models. Can you describe your method?
There is a different method for each human I am shooting! If there is a specific direction that I am trying to get for the shoot I guide them through it. But sometimes it’s just upside down like a tarte tatin, you leave your home in the morning with a very defined idea of what you are planning to shoot, and then you meet the model, you start speaking and connecting to him/her, and his/her personality, his/her aura is so strong that you completely rebuild the shooting around him and end up with something very different than what you expected but also very real and accurate; you look at the series and it just feels right. I am doing my best to be as sensible, open-minded and spontaneous as I can. This is where I get the best shots.
Among all your photos, if you had the difficult task to choose your favourite one. Which one would it be?
I’m afraid this will have very little to do with the picture quality itself and a lot to do with who I pictured and at what moment of my life the shot has been taken haha. If I could only keep a few pictures forever it will be some from the first shootings I ever did, almost exclusively with my little brother that played a farmer, a robot, a bird-man hybrid, a young collier… All of the pictures that I produce nowadays, I find them good for a short period of time, then I improve, I get better shots, and I hate whatever I’ve shot before. It’s a never-ending circle but also what pushes me to always try to do better. But these pictures of my little brother, even if they’re not that good, even if my technics were not on point, I still love them.
We fell in love with your work when we discovered Father, stranger, lover. A vivid, cinematic series picturing Leo Topalov, singular and powerful beauty coming from Lithuania. Could you tell us the story of this editorial?
I met Leo through Madeleine Ostlie, a stylist friend of mine. She started dating Leo at some point and pushed for him to start modelling. Leo is such an unique character. I really think I have never ever met someone so good at modelling. I guess it is mostly because he is a bit older, he doesn’t really give a shit about how he is going to look like because he just trusts me, and he is able to absolutely not mind the fact that there is a camera right in front of him. I’ve met him a couple of times before we shot and we were both feeling comfortable around each other. This day it was just like a reportage. Madeleine put Leo inside different outfits, we created situations in which we let him be his brilliant and off-limit self, following him around the fields in the French countryside. I am very happy that it translates in the pictures.
What is the worst experience that ever happened to you during a shoot?
Rain. Theres always something you can try when you are not quite happy with how you shoot is going, except when your main issue is: you have to shoot outside, and it’s raining. Like there is a literal curtain of rain out there. You can’t do anything for it to stop. It is so frustrating!
What would you do if you had five minutes left to live?
I would feel miserable for a few seconds and then I would try to make the most out of these five minutes left at the current place I am. Because you can’t really go anywhere in five minutes. I hope these won’t be the five minutes where I’m waiting in line at the airport security, though. I’d rather like to die instantly in that case.
date of birth august 12
café in Paris bar du marché
fashion designer thom browne
magazine toilet paper
artist I’d say Haneke even if he is not considered as such (I am bad at that one word rule!)