I’m born in April 1967 in central France, and at the age of 25 I decide to move to Paris and to make Paris my home.
 
Since the beauty of the male body has always enthralled me, I decide in 1993 to record photographically my feelings and my vision of man.
It is in the course of my life in Paris that I recognize in certain men a spark of individuality and freshness. To these men I introduce myself, get to know them, and they become my first models.

Very quickly, within a year, my work is noticed; new contacts lead to more varied contacts; I have begun to photograph for models agencies.

In the following years, 2001 to 2002 I is devoting myself to the creation of a book of some of these extraordinary young men. This book, entitled "WhenIsee men" captures beautifully the charm, the sensuality, the naturalness, and the "handsome-ness" of these men.

Today, as from the start, virtually none of the models are professional; in fact, most are posing for the camera for their first time. Thus I’m able to capture their uninhibited freshness and openness.

In addition to beautiful men, I’m with the pseudonym Aymeric J Parcehn, today, photographing landscapes and cityscapes, people, objects, and still lifes. The objective is unchanged: to seduce and to stir the emotion of the viewer….

When I photograph men, my sole aim is to accentuate the model through his physique.
In my photos, I try to convey all the emotion, sensuality and eroticism inspired by the face, body or overall image of the model.

The most difficult aspect of this exercise in style is to avoid crossing the line into vulgarity or sexuality when wishing to share an erotic visual image.

My aim is for a person looking at one of my photos to be moved, to sense a feeling of attraction towards the model, towards the photo itself or towards the way in which the scene has been set. It is a combination of all these aspects that determines whether the photo is a success and which provokes a reaction from the person who will ultimately love or hate it.

The places that I choose are often unconventional or at odds with the model. I like contrasts. That is why I tend to photograph a conservative chic model in a dreary place, and vice-versa.
The condition that governs my choice of the place is based exclusively on what I feel when I am there.

Irrespective of the result of the photo, I attach a lot of importance to the place, as the model must feel at ease, or on the contrary, unsettled, so that I can elicit a specific type of behaviour, idea or concept. The number one rule in all cases is to maintain the model's natural pose, whilst combining a hint of sensuality and aggression.

To date, the lack of warmth and emotion in photo studios have not allowed me to produce work of any real interest, except for a few rare cases. That is why I do not work in them or not very often.

The choice does not lie solely with the place. The model obviously plays an important role.
Although you can describe the individual physical features of my models (such as brown hair, gaunt face and lean muscles), I work above all by gut instinct.

However, even though I like to photograph the body, the model must have a face that provides me with a source of inspiration.

Furthermore, it does not matter whether the model is a professional, works for an agency or is just starting out in the profession. Besides, I prefer it to be the model's first time. It may be more difficult to obtain exactly what I am looking for, but the model comes across as more natural and gives more of himself with fewer pretensions.

One of the elements that bring out the originality of my photos is the natural aspect, a quality that is both "common" yet exceptional. It is also one of the reasons for which it is difficult to pose for me.
Obviously I guide the model and position him in the required place, but I do not ask anything more of him, which is a lot when you are in front of the camera.
This is more difficult for him to deal with rather than being told exactly what to do throughout the shoot, but it is the only way for each model to give me a piece of himself, part of his personality, so that the end result is as natural as possible. Afterwards, it is the set used for the shoot, combined with the appropriate framing, that does the rest.

When it comes to technique, I am just not interested. Although some is needed to take a photo, it is not with or thanks to the technique that I compose my photos, but with my feelings and my emotions.

Consequently, there is no makeup, no artificial lighting – just the natural component.

As far as the light is concerned, it enables me to move in relation to the model in order to capture the best angle, the best shot. In addition, it allows me to change my place or position at the same venue more quickly, thereby keeping the photo session moving along at a steady rate and bringing it to life for the model.

As for the makeup, I simply wish to take the model as he is and not artificially remodelled.
It is down to me to make him stand out, to turn a slight imperfection into an asset and something enticing.

The only technical feature that characterises my photos is the grain. Actually, I like photos that play on the shadows and on a high grain. But that is it… because I do not want people to look at my photos for the technical skill that went into it, just the emotions that they convey.

I am surely in the worst possible position to describe my photos. Above all, I do not think that there is really anything to explain, just something to be looked at.

But if I had to describe my photos in a few words, I would probably say emotions, sensuality and melancholy.

Finally, my greatest reward is to see someone hang up one of my photos and hear that person talk with everything that he/she feels when looking at it, without knowing that I am the one that took the photo.