AN INTERVIEW WITH FABIEN ECOCHARD

Fabien Ecochard won 1st Prize in our recent Colors competition with an image that captivated judge Alixandra Fazzina with its bold color plane, sharp composition – subjects, movement and geometry all working in unison. Taken in Paris, his hometown and the subject of much of his street photography, it encapsulates his view of the city – not postcard vignettes but dynamic frames of vibrant, sometimes chaotic beauty.

Keen to know more about his approach, his inspirations and his use of color, we put some questions to him…

Fabien, congratulations on winning our Colors competition! Where do we find you in the world? Please introduce yourself in a few words…

First of all, a big thank you for this honor! Well, I’m a French photographer based in Paris. My photographic style is strongly influenced by the pioneers of color street photography and also draws inspiration from cinema. I’ve always been fascinated by people and the way they interact with their environment, because together they tell a richer story.

Can you tell us a little more about your winning shot and the circumstances behind it?

I took this photo during the 2024 Paris Olympic Games. The city had been transformed by many temporary installations, like this skatepark right in the heart of Paris. It was full of life, with young people, families, and tourists all sharing the space. There was such a vibrant energy! I wanted to work with those elements to create an image where people, lines, and colors interact and echo one another. These people aren’t from the same family, but there’s a sense of connection between them in the image.

Does color play a conscious role in your work?

Absolutely. While I often turn to black and white for more intimate or family-related work, I feel a real need to tell stories from the street in color. Beyond their emotional impact, colors also speak of a time, they age along with our images.

Where did you love of photography, and particularly street photography, first come from?

Like many, it was travel that first sparked my interest in photography. It’s easy to be inspired by what’s new or unfamiliar. But I quickly realized that what truly intrigued me was people, the way they live, their environment, their everyday routines. That desire to cast a personal eye on ordinary life naturally led me to street photography.

Street photography is a notoriously difficult genre to do well. I’m reminded of the Alex Webb quote: “Street photography isn’t easy. 12 great photos, and 1 exceptional picture per year is a good haul.” Do you agree with that sentiment? And if so, how do you keep yourself motivated? Do you have a philosophy, or particular way of working out on the streets?

I couldn’t agree more. Street photography is a process built on failure. You have to try a lot and miss a lot before you land on something worthwhile. Getting to know yourself is also key. The street isn’t a studio, you can’t control everything. But that’s also what makes it beautiful: the search for the accident, the unpredictable, the fleeting. Those are the elements that give certain images their value. Over time, I’ve realized that the moment itself matters more than the outcome. Being in the street, connected to what surrounds me, that’s what really counts. A good photo is the cherry on top.

And on that subject, can you share a particular favourite shot? Perhaps a recent one you’re especially proud of? Can you talk us through it?

Here’s a photo I took recently in New York, which I’ve never shared before. It ties directly into what I just said, this shot is part instinct, part luck. I was drawn to a man gesturing with his arms, whose shadow on the wall took on an almost Christ-like form. I took one frame, then a second. Only afterward did I notice how the shadow appeared trapped or chained. Was it planned? No. But did I give that happy accident the chance to happen? I think so.

Who or what inspires you, inside and outside of photography?

The list of photographers who inspire me would be too long to name, from the early masters of street photography to many contemporary voices I admire. Film and documentaries are also big influences, both in terms of visual storytelling and narrative structure.

You published your first book, Cosmopolite, last year. How was that process?

After more than seven years photographing the streets of Paris, I felt the need to pause and make sense of it all. There were recurring themes in my work and a perspective on Paris that had been taking shape over the years. I wanted to work with a publisher to create an object that would feel meaningful to me. But Cosmopolite isn’t the end of a chapter, far from it. Since its release, I’ve been photographing the streets of Paris more than ever!

You’re an award-winning filmmaker too. Doing that as well as photography, how do the two disciplines inform each other in your creative process? Do you approach visual storytelling differently depending on the medium?

While there are clear bridges between the two, especially in the way images are sequenced and rhythm is created, I see street photography as my most personal and honest form of expression. It’s free from any professional or financial pressure, without deadlines or expectations. Time slows down when I’m out shooting in the streets. It’s a moment of connection, and at the same time, of disconnection.

What’s the best piece of advice you’d pass on to your younger self if you could?

When I first got into street photography, buying books by the masters, endlessly scrolling through Instagram, I felt like everything had already been done, and done better than I could ever do it. That kind of inspiration can be just as paralyzing as it is motivating. It took me a while to realize that I was shooting, first and foremost, for myself. And I wish I’d told myself that earlier. There’s room for every point of view and every sensitivity. Follow your own path, because only consistent, sincere work has lasting value.

And finally, what will you be working on for the rest of 2025?

In 2025, I plan to keep bringing Cosmopolite to life through public encounters, that was always one of its main intentions: creating a space for connection and dialogue I’ll also be dedicating more time to teaching and workshops, which are something I genuinely enjoy. And above all, I’ll keep doing what I love most: picking up my camera, walking out the door, and letting myself be surprised – again and again – by the world around me.