In his way, the cinema photographer

is a kind of stationary movie director.

He is, indeed, the privileged witness

of the amazing chemistry that

magically operates between

the multiple talents and jobs

involved in a story that is constantly

in motion.

Photography is not only a means

to supervise and to determine

which takes are best, but it is also

a tool of communication to serve

the various purposes of  a film.

Ever since I started on the shooting

of “Amélie from Montmartre”,

I’ve developed a real passion

for this job, now enriched with

a perfect mastery of the different

techniques, digital as argentic.

the first photo on Amélie’s shooting.

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