A French Photographer in LA, Olivier Pojzman


The unique style, scale and possibilities for custom-made images, have made Olivier and his art, a sensation in the world of high-end dŽcor.
Its esthetic nature captures the viewer and brings life to open spaces. Olivier’s work of land and cityscapes create an astounding illusion allowing the viewer to let go, be free and become captivated by its tranquil beauty.

be-Art magazine: When did you move to LA? 
Olivier Pojzman: I moved to Los Angeles 20 years ago from Paris, France. I knew I was home when I established myself here in California. It is in Los Angeles that I created my art and developed my vision and technique as a fine art photographer.
be-Art magazine: What do you find in LA you don’t find anywhere else?
Olivier Pojzman: What I find in Los Angeles is the diversity of colors. There is color in the architecture, street signs, school buses, etc…Everywhere you look It is bright, vivid and colorful. In addition to this plethora of bright tones, the quality of light, blue skies and sunsets are magnificent.  LA is not a beautiful city but It is a very photogenic place. It is the perfect background for photography and cinematography. That is one of the main reasons why the cinematographic industry established itself early in the century in the City of Angels.
be-Art magazine: You told me you use about Thirty photos to make just one, can you explain your technique
Olivier Pojzman: Like any good photographer, I was trained to focus on a single shot, eliminating the surroundings by isolating the subject. Fascinated by the vastness of the American landscape,
I was frustrated when I tried to capture its magnitude in a single picture.
When I am shooting my fine art, I used my still camera like I would use a motion picture camera.  Like a cinematographer, I have to carefully examine the shot and decide how wide to pan the camera left and right or up and down, how many frames are required and how to translate those elements into a still photograph. In post-production, I digitally stitch as many as 15 to 25 images together to create my final image. By having multiple images, I am also adding resolution that allows me make monumental prints with exquisite sharpness and details. This phase of production can take as long as 50 hours in the studio.  I believe the best way to translate and render my vision of the world in the two-dimensional format is panoramic photography. It better reflects my vision as an artist.
be-Art magazine: You pay attention to the composition of the photos meanwhile you pay also attention to the colors like a painter. Which one comes first when you shoot, composition or color?
Olivier Pojzman: Colors, shapes and beauty come first then the composition is created in the execution.
It is all about visualizing the final image and how it will transcend printed. Since I am exposing multiple images during the capture process, I can not see the final image while shooting. However, the expertise and the artistry acquired as a photographer before the digital photography era as well as the visualization process helps me getting the image that I want to create.
be-Art magazine: What makes you stop and shoot such or such gas station, used car or street of Venice?
Olivier Pojzman: I grew up in France where I discovered very young the American culture through American literature, films, documentaries and tv series.  What make me stop and what resonate in my photography is simply the nostalgia of a past era. I am trying to find and capture the reminiscence of faded memories that evoke our favorite
sights, sounds, and feelings.