When I work with you, I'm going to work with you, I'm going to work with you, I'm going to work with you.
If you make a book, there's always a spark.
The book has always been important in the history of Mark.
I think it's now the 50th book.
And we have a special opportunity because Mark Lagrange made a special edition, a limited edition.
And that has already become the big book.
It weighs almost 30 kilos.
It's 50 on 70 large.
So it makes, if the book is open, it's 70 centimeters high and 100 centimeters wide.
And it actually comes across very nicely with a part of the work that's going on here in the exhibition.
Because this is actually one-on-one the comparison of the photo on the wall, but also of the photo in the book.
And yes, in the end we can only be very impressed by how well Mark's work is actually presented in a third way.
So actually it's no longer just a book, it's an art work on itself.
For now we'll wait for you, for you to come home.
The book, when it's open, is 70 centimeters per meter.
My new child weighs 27 kilos and is printed on 500 copies and printed.
Photographer, Mark Lagrange.
Mark Lagrange, welcome.
Thank you.
Why did it have to be such a big book?
It was the big book of Helmut Newton, the Summel book.
My publisher wanted to make a new book, 20 years career.
Then he actually contacted the same bookbinders in Italy and in Verona.
And there is the book now, the last people are there, the book on binding.
Because that can not happen nationally, that must happen by hand.
But it's a lot of work.
Mark, it's multifunctional.
You can even make a model of it.
Wonderful, wonderful, wonderful.
I'd remove you.
Chips, chips.
What is striking is how strong Mark's photography remains.
We knew it was going to be in various layers.
We know that Marc's work is a beautiful work in space.
As it is now presented in the book, it gives an absolute value to the surface.
I actually know Mark from his photos.
Not least because of the fantastic women who are always there.
But above all, the sphere that hangs around there.
The lighting is beautiful, do you think?
I think it's beautiful in the painting.
I'm going to look for a piece of paper to shoot the numbers on the map.
I think it's something quite rare and exceptional for me.
It's another look at photography.
We are very used to seeing certain social photographs,
or reports, etc.
It's an aspect.
There is the reportage, there is the photography mode,
but it's beyond the photography mode.
It really looks like it.
Everything has to look good.
We start with the styling, the makeup.
My location has to be fantastic, my light has to look good.
And of course, don't forget what I want to get from certain people,
what I want to achieve.
And that result has to be the final prince for me,
as his result, here in the book,
or in the art gallery.
This particularity in his eyes,
there is a way to put on stage,
to put on this character,
who is very close to cinema for me.
We really feel like it's a film that takes place.
At first glance, we discover systematically
other things as well.
I think that there is a kind of presence
that has to be done by the photographer's power,
in which the question is,
what is the best way to put it?
In the deepest book, XXML,
I have 50% color, 50% black, white or sepia work.
Over the years, I keep adding color to my work.
But I add color in a way that I don't want it to be too hard.
I also add the subtle, soft colors that I get.
I also make sure that my color picture is worn as a harmony.
One constant in your work is naked women.
Let's take one of your photos and your models with us.
This is Vintage Marc Lacrange, can I say?
Why do I always wear that naked woman?
And why don't you...
Why do I always wear that naked woman?
Because I like to take photos,
so I like to take photos of women.
Maybe because of my past, I was a fashion photographer.
What is a typical French photo?
The themes come back, of course.
For a beautiful woman, sensuality, erotic, beautiful looks, beautiful light.
But what do you think of your photos?
Something different.
That you can't wear that naked woman.
Let's take a photo.
And then it's finished.
I've snuck.
I'm sure it's okay.
Through working with people, I create something that they say,
what are we going to get now?
But in the end, you know that you're going to create something
that your expectations are over.
Hey, what's up?
Oh, my!
What's up?
What's up?
Do you want to take a photo?
What's up?
Do you want to take a photo with me?
No, no, no.
Wait a minute.
There are different themes.
I have a very inspiring relationship with Marke,
because I think that he, at the right time,
brings the right things from the history of photography
to his work.
Its your Thi-
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The choice of high prises, which I propose,
has a lot of vague primer.
And I understand why it's so shocking.
But for me sexuality is always a big role in religious paintings and paintings.
And the education of the people to religion is always happening through paintings and art.
For me, it's not so shocking why it's so shocking.
But of course, it's a basic painting of me.
And then it's about a woman.
It's not something new, of course.
But I think it's good.
I think it's about thinking about something positive.
Now I'm not really religious myself, so I think it's all good.
I have a beautiful womanhood, a soft glow.
And that innocent stare in front of me.
And then the meiter drop.
For me, that picture is the icon of the whole race.
I don't know what I'm talking about.
I don't know.
I don't know.
I don't know.
I don't know.
I don't know what I'm talking about.
I don't know what I'm talking about.
I don't know.
I don't know.
I don't know what I'm talking about.
I don't know what I'm talking about.
I don't know what I'm talking about.
I don't know what I'm talking about.
It's a way to give a comment.
It's a way to give a comment.
When I work with Mark, there is always a spark.
It's a way to give a comment.
I don't see myself as a model myself,
but the thing is that I'm always very much in touch with Mark.
It's never like he asks me to pose.
Because that's what I always do with photoshoots.
You have to do it as an actor.
I don't want to steal something, I want to be.
And that's what he's looking for.
And that's where it all starts.
It's really nice to work with him.
It's fun because he knows how to find the right connection with a model.
And if you have the right connection, you and a photographer, then everything should work.
I have a good friend of mine.
And Mark was there, and Mark saw me and said,
I really have to take pictures of you.
I said, what? Because I don't take pictures myself.
And I didn't do things like that in the past.
And he said, oh, you have a really nice face.
I really have to take pictures of you.
Mark asked me to do a shoot.
And I said, yes, I don't think I'm good at taking pictures.
I don't want to do that.
There's also a bit of a change in my story.
He said, well, he does that anyway.
I don't feel good about it.
But he wanted to do a shoot with all the people with the character.
And then we did the photoshoot of Snow White and the Mafia.
When I said the photoshoot, the result was different from myself.
Because I came across it on the photo.
And I thought that was pretty cool.
And I want to do that again next year.
When I saw my first photo, I was really impressed, surprised.
And I really liked it.
Because it was my first photoshoot and it was successful.
I really loved that photo.
So it was like different me.
And I was really happy to see it.
And I saw the big picture of me on the frame.
1,80m x 1,50m.
And I said to myself, I don't think I'm good at that.
And I said, OK, I'm not going to do that anymore.
But not on the frame.
All people are looking at me.
I was really happy.
Mark idealizes the woman in a beautiful way.
Always when you work with Mark, you know beforehand,
you really become a superwoman, you know.
And then you can play and become something else
from those lovely, beautiful, powerful women's stand points.
You always want God to be with you.
What makes a model a good model?
A good model is actually a model that can act,
that can give itself, that can imagine itself in a role,
or actually play a game that I want to play.
That can play itself in a role,
that can give itself, that model must deserve,
that must give itself and let it go.
Because there are many models in my book that come back a few times.
I would say on my Expo, this is a model,
and it is actually in my book 20 times.
And I really have to tell the viewer, that's that model,
and that's the same, and that's the same,
because we can transform it like this.
Here he comes, Mike, like it.
beware. I think it's time we stop children. What's that sound? Everybody look what's going down.
There's battle lines being wrong. Nobody's right if everybody's wrong.
Young people speaking their minds are getting so much resistance.
Fall behind, time we stop. Hey, what's that sound? Everybody look what's going down.
What a field day for the heat. A thousand people in the street singing songs and to carry inside.
Mostly say hooray for our side. It's time we stop. Hey, what's that sound? Everybody look what's going down.
