↟ Long before I picked up a camera and took photography seriously, I was a video editor and visual effects artist. I’m grateful @instagram and @staff has given me a platform to show my peers my combined skill-sets together— not just one.
Unsung Hero:Pete Kozachikhas worked in the film industry for over 30 years as an animator, visual effects artist, and cinematographer. He began collaborating with Henry Selick in 1990 and was the director of photography on the director’s features James and the Giant Peach (for the stop-motion portions) and The Nightmare Before Christmas. On the latter, Mr. Kozachik was also part of the movie’s visual effects team, and as such was an Academy Award nominee.
He was the cinematographer on Tim Burton’s Corpse Bride, directed by Mike Johnson and Tim Burton himself; that stop-motion project was
lensed with digital SLR cameras, which had never previously been used
for an animated feature before.
Having worked with both Iconic stop motion animation directors Selick and Burton, Pete Kozachik is known for his work on The Nightmare Before Christmas (1993),
James and the Giant Peach (1996),
Corpse Bride (2005) and Coraline (2009).
I feel like I say this a lot but I really don’t think Gorillaz get enough credit for what they do artistically. For those of you who don’t know, the “band” is literally ONE GUY named Damon Albarn who makes everything happen musically with occasionally a lot of ridiculously talented guest stars. The only other “member” officially is a visual effects artist (Jamie Hewlett) who creates all of the animated characters you see in music videos/short films etc. and if you hear the music they make THAT IS FUCKING INSANE. They sold SEVEN MILLION copies of their first album & went double platinum on their second. TWO GUYS. Idk I mean they just deserve way more appreciation than they receive.
Christopher Crouzet Marseille, France Hasselblad 500 C/M | Hasselblad XPan
How does your work as a visual effects artist inform your creations as a photographer?
So far my work has been mostly technical rather than artistic but only the fact of being immersed within such an environment has been highly inspiring. Staring every day at the artworks from top class artists helped me to develop a sense for recognising quality work. I can now sometimes feel, without always being able to explain why, when some composition, colours, or lighting, are off. Having a better eye made me more picky and demanding regarding my own work, which positively impacted how I approach each photo.
Do you ever try to bring the two together in your photographic work?
My photography style is at the opposite of my profession. When in a movie we try to make a shot more visually appealing by embellishing the reality, or to match a specific artistic direction, in my photography I tend to minimise any digital manipulation to the bare minimum. I even try to stay away from any digital device for as long as possible, which is in part why my main go-to cameras when not globe-trotting are analog: an Hasselblad 500 C/M for portraits and an Hasselblad XPan for landscapes. In fact, I’m using photography as a way to expose the natural beauty of the world and of the people around us, thus without any artifice nor visual effect.