Olivier Pojzman: The art of capturing the ephemeral
More than just a photographer, Olivier Pojzman is a sculptor of light, a landscape architect, and an explorer of detail. Of French origin and now based in Los Angeles, he has carved out a unique vision through his photography, which oscillates between realism and dreamlike imagery. Founder of the IrisWork studio in 2005, he excels in both commercial photography and a more personal artistic approach, capturing the raw and fleeting beauty of the world around him.
His artistic work celebrates both nature and urbanism, a balance of textures, contrasts, and light. His aerial compositions and landscapes with nearly abstract geometry convey a quest for perfection where each image tells a unique story. He sublimates California with a cinematic and pictorial eye, revealing the soul of places through striking perspectives.
His works have been exhibited in galleries around the world and are part of prestigious collections, including the Residence of France in Los Angeles. Inspired by the energy of nature and architectural aesthetics, he plays with space and movement to create images that transcend the captured moment. For him, photography is a way to freeze the ephemeral while infusing it with timeless intensity.
Instagram : @olivierpojzman @iriswork
Your first photographic click?
Olivier Pojzman: It goes back to my childhood. I remember borrowing my father’s camera and wearing it around my neck during my walks. I started taking my first shots without really knowing what I was doing. I would always wait for the right moment to press the shutter… but often, I missed the shot because the moment passed too quickly, and I didn’t have the necessary technique yet.
The man or woman of images who inspired you?
O.P.: Without hesitation, Willy Rizzo, an iconic photographer from Paris Match. He was the first photographer for the magazine in 1947 and spent a large part of his career capturing celebrities around the world. I was fortunate to be his freelance assistant for about ten years. He was my mentor, an invaluable source of inspiration, and above all, a wonderful person.
The image you would love to create if the opportunity arose?
O.P.: Perhaps The Kiss at City Hall by Robert Doisneau, or the famous portrait of the Afghan girl by Steve McCurry. I also admire the magnificent black-and-white landscapes of Don McCullin and Ansel Adams. These are images that inspire me. But if we’re talking about an image that doesn’t exist yet? I don’t really have a precise idea at the moment we speak.
The image that moved you the most?
O.P.: The one that comes to mind, even though it’s very sad, is the famous photo by Nick Ut during the Vietnam War: the little girl running down the road after a napalm bombing. And then, another image I really like is a portrait taken during the Great Depression in the United States: a migrant woman, in black and white, tightly framed, holding her children in her arms. This photo, taken by Dorothea Lange, is incredibly powerful and symbolic.
The image that made you angry?
O.P.: Recently, it was the one of Elon Musk with his arm extended. At first, I wasn’t quite sure what to think of it… You can always extrapolate from an image; maybe it wasn’t intentional, but the gesture still remains quite provocative.
A key image in your personal pantheon?
O.P.: It would be the very first one I took in panoramic format. It was the first time I used my technique of stitching several images together. It was a photo of Venice Beach, and it was this photo that really launched my panoramic photography work.
A photographic memory from your childhood?
O.P.: I think of an image of my mother on vacation, dressed in the fashion of the ‘70s. She often wore jersey jumpsuits with bell-bottoms. That kind of image is etched in my memory.
An image that haunts you?
O.P.: The sky. The clouds. In my photos, there often has to be a dramatic, contrasting sky. I don’t particularly like clear blue skies.
If budget were no object, what work of art would you dream of acquiring?
O.P.: Probably a painting by Picasso.
What is the quality needed to be a good photographer, in your opinion?
O.P.: I’d say it’s patience, and then… psychology.
The secret to the perfect image, if it exists?
O.P.: It’s knowing how to capture the moment, down to the millisecond. Being there when something beautiful, interesting, or sad happens.
Who would you like to photograph?
O.P.: I don’t know what to say. I’ll say my mother, since she’s 92…
And, the photographer by whom you’d like to have had your portrait taken?
O.P.: Richard Avedon. Yes, I think that would have been great. It would probably have made for a beautiful portrait, I imagine.
An indispensable photography book?
O.P.: The Americans by Jack Kerouac and Robert Frank. It’s a black-and-white book that captures the essence of America in the 1950s.
The camera from your childhood?
O.P.: From my memories, it was an old Canon. I think it was the Canon F1.
The one you use today?
O.P.: Still Canon, but of course digital now. And also a Hasselblad.
Your favorite drug?
O.P.: Whiskey.
The best way for you to disconnect?
O.P.: Being on my boat, every day. It’s very pleasant.
Your personal relationship with the image?
O.P.: It’s primarily a moment of meditation and introspection. Whether I’m taking it, working on it on the computer, or even just looking at it, it’s the moment when I dive into myself.
What do you see when you glance at your reflection in a mirror?
O.P.: Today, I see the years passing by, and sometimes I see my father or my mother. But mostly, what strikes me is how quickly time flies. I feel like I have time, but at the same time, I can’t fully grasp it.
Your greatest quality?
O.P.: I’d say tolerance.
Your latest folly?
O.P.: Wanting to spend more time in Europe. I’m not sure it’s really a folly.
What’s the difference between photography and fine art photography?
O.P.: I’ve had two quite different paths. On one hand, I’ve worked extensively in what I’d call “commercial photography” for advertising agencies or magazines. I’ve also had the chance to photograph three African presidents, as I’ve spent a lot of time in Africa. Commercial photography is ephemeral. Today, even more than before, images are quickly consumed. With Instagram, for example, they’re quickly seen, but just as quickly forgotten. On the other hand, fine art photography endures; it’s a piece of work you choose to display in your home. It resonates differently depending on each viewer and the emotion the image evokes.
The place you never get tired of?
O.P.: Once again, the boat, the ocean. I need to go to serene places, with light, calm, and, of course, water.
Your greatest regret?
O.P.: Probably not having learned music as a child. I started learning piano late, and I absolutely love it. It’s a real pleasure. Maybe I could have been a musician if I had started younger.
On social media, are you more Instagram, Facebook, or TikTok?
O.P.: I prefer Instagram. I’m also on Facebook, but it’s really Instagram that I use, not to share personal things, but to develop and showcase my work as a photographer.
Color or black and white?
O.P.: Black and white, although in reality, color tends to guide my work. But I haven’t said my last word on this; maybe one day I’ll delve into it.
Daylight or studio light?
O.P.: I prefer natural light, daylight, or ambient light. I favor natural light, even for portraits. Of course, it may be necessary to add reflectors, but the essential for me is to work with ambient light.
Which city do you think is the most photogenic?
O.P.: That’s a good question. Los Angeles is very photogenic, or even America in general, though of course, I first thought of Paris, which is a very photogenic and romantic city. However, my inspiration comes more from cities like Los Angeles.
If God existed, would you ask Him to pose for you or would you prefer a selfie with Him?
O.P.: I’d take a selfie, I think. To make sure He really exists, to be able to touch Him, or even put my hand around His neck.
If I could organize your ideal dinner, who would be at the table?
O.P.: Probably the friends I’ve lost.
The image that represents for you the current state of the world?
O.P.: The current state of the world is unfortunately not fantastic. I’d say it resembles the image of the wildfires we’ve had in California. So it’s not a specific image, but rather the idea of destruction. Of hundreds of houses, and broken families.
If you had to start everything over, would your journey be the same?
O.P.: I don’t know. Overall, I’m quite satisfied. Of course, I would have done some things differently. But thinking about it, I’ll say yes, because overall, it’s been alright.
And a final word?
O.P.: I’d say, let the last long pause last a long time.
