Julien Chatelin's break from the decisive moment

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“What I found was that when you stepped out of the tumultuous Tahrir Square, you found a world that was at a stop – almost a negative of the revolution in a strange way,” says French American photographer Julien Chatelin of his time spent exploring the territories surrounding conflict zones in Egypt.
“I was playing with the idea that history was concentrated in time and space, and if you drive just two or three kilometres out, you’re confronted with a completely different reality. It’s interesting, the change of perspective.”
In 2011, Chatelin, a successful photojournalist and author of the photobook Israel Borderline (2008), was sent to Libya to cover the uprising at the beginning of the war. After a few months he became frustrated with the work he was producing and decided to head in a different direction.
Denis, 28 years old, an electrician at Norilsk Nickel. Norilsk, Russia, May 2015 ©Julien Chatelin
Switching to a large format camera, he travelled to the Egyptian desert and began looking at the impact of shifting economies on the landscape and territories surrounding the nucleus of action. This work has also seen explorations to Detroit, western China and Siberia, which, like Egypt and Libya, are places with diverse histories and contrasting geographies but which are fixed in outside perceptions with a single vision.
“It was an aesthetic quest,” he says. “I was looking for certain imagery and not for information; looking for a landscape to make sense. What was difficult for me was to break away from this ‘decisive moment’ in photography where you see things coming together and you know you have the right timing and the right action.
“There I was working in that 99 percent of time where nothing is happening and you try to look at things differently – the moment is still decisive but it’s much more subtle. A cloud goes and the light is more diffused and suddenly the images emerge in that subtle moment where everything comes together. It’s an interesting creative process.”
Chatelin is yet to decide whether the project is finished. “The more destinations I was doing, the more the idea came through,” he says. Having worked for so long in large format and film, he now aspires to go back to something where he is more free and mobile, perhaps returning to a digital format.
He also explains that the emphasis of his work is shifting away from photojournalism, describing it as: “Still documentary but much more on ideas and different ways to convey them through documentary. For me the process of taking pictures is crucial. I like to challenge my vision.”
julienchatelin.com This article was first published in the July issue of BJP, which is available via www.thebjpshop.com
A house across the infamous Packard plant. The Packard Automotive Plant is a former automobile-manufacturing factory in Detroit, where luxury cars were made by the Packard Motor Car Company. It is the largest brownfield the world, as the factory spread on 325,000 square meters. It was auctioned in 2013, and is now in the process of cleanup. East Side, Detroit, 2012. From the series The Beaver and the Cadillac ©Julien Chatelin
New Century Global Center, the world’s biggest mall. Chengdu, China, January 2015. From the series China West © Julien Chatelin
Luxury housing, Chongqing, China, January 2015. From the series China West © Julien Chatelin
Judicial car yard, Helwan, Egypt, September 2011. From the series Egyptorama © Julien Chatelin
Izabela Radwanska Zhang

Starting out as an intern back in 2016, Izabela Radwanska Zhang is now the Editorial Director of British Journal of Photography in print and online. Her words have appeared in Disegno and Press Association. Prior to this, she completed a MA in Magazine Journalism at City University, London, and most recently, a Postgrad Certificate in Graphic Design at London College of Communication.