Exhibition “Water and Feathers”

My research focused on water, its reflections and movements on the Breton coast at sunrise or sunset, when birds perform their most beautiful dances.

This exhibition marks the beginning of my activity as a nature photographer. I had the pleasure of talking with the children to explain my approach and how I take my animal photos, while respecting nature.

Preparation

Choosing the Paper

My photographs have a soft, delicate feel, and during post-processing I always aim for a painterly look, reminiscent of a watercolor painting.

To find the most suitable paper, I sought advice from Tirages d’exposition (PIX in the City), a well-known fine art printing laboratory in Brittany specializing in exhibition prints, from small formats to large-scale displays. After discussing my photographic style, they quickly recommended Hahnemühle Photo Rag paper. Its matte finish and subtle texture closely resemble the cotton paper traditionally used by watercolor artists, making it a perfect match for the atmosphere I wanted to create.

This visit opened my eyes to the incredible variety of fine art papers available and the impact they can have on a photograph. I realized that producing a print is much more than simply reproducing an image on paper: the choice of paper is an integral part of the artwork itself. That was the moment I understood how photography takes on a completely new dimension when it leaves the screen and becomes something tangible to be experienced and contemplated.

Preparing the Frames

Choosing the right frame is only part of what makes a photograph stand out. A mat board is just as important: this thick cardboard border separates the print from the frame. Beyond its aesthetic appeal, it gives the image room to breathe, naturally draws the viewer’s eye toward the subject, and prevents the photograph from feeling cramped against the edges. For my prints, I chose an off-white mat board rather than a bright white one, as it better complements the soft atmosphere of my photographs.

The first step is to cut the mat board with great precision. Even the slightest imperfection becomes obvious once the frame is assembled. I then positioned the print on the mat board, added a protective backing board, and secured everything with archival framing tape. The result is a carefully mounted print, ready to be placed inside its frame.

All that remains is to clean the glass thoroughly to remove every fingerprint, place the mounted print inside the frame, and close it up. It may seem like a simple step, but it requires just as much care as all the others.

Then it’s time to do it all over again… and again. For my first exhibition, that meant preparing twelve photographs. Twelve frames, twelve prints, twelve mat boards. A meticulous process, but also the rewarding experience of watching the exhibition gradually come to life.

Exhibition venues and acknowledgments (years 2024-2025)

Pleumeur-Bodou

LPO Station (League for the Protection of Birds) on Île-Grande in Pleumeur-Bodou

I would like to sincerely thank the entire team at the LPO station on Île-Grande for hosting my photography exhibition from April to the end of June, despite my absence due to a trip to Peru. I was truly happy to be able to exhibit my work in such an emblematic place, in the heart of a setting where nature and birds hold a central place.

The coastal environment of Île-Grande perfectly echoes the spirit of this exhibition, and I am especially moved by the LPO’s commitment to protecting biodiversity.

Thank you for your warm welcome.

Bégard media library

Saint-Laurent

From November 22 to 29, 2024, at the Saint-Laurent town hall, opening on Friday 22 at 6 p.m.

Presentations to the school’s students in three groups (small, medium and older) with a presentation of the exhibition, the material and the approach to animal photography as well as an exchange with the students.