Ternes, Saturday, 16h
Rip Hopkins is set up amidst the uproar of the children’s books section. He’s chosen to use an overhead projector in order to change the background for each portrait. Rip shapes his subjects into different poses. The rendering is unique, very cinematic.
“I asked people to touch each other just to help break the ice,” says Rip. “Sometimes the couples hadn’t touched or kissed for years! It was tense at first, but gradually they loosened up. They really enjoyed it, forgetting that the camera and people were there. In a way, they become actors in their own film.”
“This is the first time I’ve participated in this operation,” he continued. “And the last time. Quality takes time. I try to feel out the situation and adapt the photograph to the subjects. I always stage my portraits. Usually I take the photographs at people’s houses, and the setting changes, hence the projector. Originally, Fnac was a members-only discount buyer’s club. They bought up electronic equipment and sold it to the competition. I thought it was interesting to use equipment sold in the store for my photographs (for example, the projector). That creates a link to Fnac. If I had to take pictures for a farmer’s collective, there would be cows in the picture, a baker, some baguettes, etc. I aim for consistency in my work.”
I run into one of the families I saw earlier at Paolo Verzone’s shoot. They’re all there this time. They even changed for the occasion.
Rip Hopkins was born in 1972 in Sheffield. A member of the Agence VU’, he lives in Brussels.
Juliette Deschodt
