I’m Triggered By Something “Real”

Featuring Jorre Janssens Words by Nastasia Khmelnitski

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For Jorre Janssens, keeping it real is an ultimate goal. The purpose of finding satisfaction in an artistic part of the job, an intention of the utmost importance, is achieved through deliberately finding challenges, through the strive to merge new techniques in one’s work, and desire to innovate. Probably the key to success is precisely in the understanding that every aspect can be improved tomorrow.

One of the striking elements in Jorre’s work is the ability to create with minimum art on set, setting the right movement, dynamics, and a robust connection between the subject and the camera. Jorre pushes fashion a step ahead towards a liberating, slightly bizarre look, inviting the model to add from their uniqueness to the overall result.

Jorre Janssens is a fashion photographer based in Brussels, Belgium. Jorre is a photographer, short film director, cameraman, and editor. Making the way from the profession of cameraman towards self-realization as a photographer is a journey and a dream come true, which we discuss in more detail. Jorre speaks about being a father, living in a pastoral village 15km from Brussels, and the central goal of reinventing himself and his art. We discuss the importance of networking and Jorre’s personal approach to this part of the job. Currently, Jorre is working on the videos for Charlotte Adigéry’s new album.

‘I try to recreate what I do with photography into a film, although this often is very challenging and time-consuming since you’re not just working on 1 image, but on 25 per second.’

Photography and Film Direction

Being a cameraman, an editor, film director, and photographer, what are the most inspiring elements from the technical perspective for you when comparing the still and the moving image?

When making a film, I try to approach the project in the same way as a photoshoot. I try to recreate what I do with photography into a film, although this often is very challenging and time-consuming since you’re not just working on 1 image, but on 25 per second. But it’s a very interesting approach to do something different, use your strengths as a photographer, as opposed to trying to be a director you’re not. 

‘Being a father for two years has really turned my world (and work) upside down. And it leaves very little time (and energy) for networking. It has never been my cup of tea, the networking part of the job.’

Brussels

How would you describe the creative atmosphere in Brussels? 

To be honest, I no longer live in Brussels, but in a little town 15 km from Brussels' city-centre. I lived in Brussels for 7-8 years. I still mention it on my website, simply because it's easier for people to understand where I’m based, compared to the name of the village no one has ever heard of. A white lie, if you will :). 

How does the city, networking in the city, can support the artistic spirit, in your opinion? 

Being a father for two years has really turned my world (and work) upside down. And it leaves very little time (and energy) for networking. It has never been my cup of tea, the networking part of the job. To me, this feels more like a job than the actual job of being a photographer. There’s not really a right or wrong way to do this, it just isn’t my cup of tea.

‘I’ve always been into photography, but I never dreamt I could ever make a living out of it. The turning point, really, was giving up my day job.’

The Start

Let’s go back to the decision to make photography your profession. What was the turning point for you? What was the most challenging part of making this move? 

I’ve always been into photography, but I never dreamt I could ever make a living out of it. The turning point, really, was giving up my day job, continuing to do this as a freelancer, and slowly but surely try to take more photos, work on the portfolio and gather some clients to a certain point, where I didn’t need to combine freelancing as a cameraman and trying to be a photographer. Sometimes you just need to jump and be confident it will work out.

‘My main goal is always to keep on searching, to keep looking for new techniques I can apply in my work, and not copy myself shoot after shoot.’

Distortion and Color

A recurrent visual element that is present in your works is a distortion of the image, the choices of color lighting the scenery (giving sometimes the image a look and feel of the late 80s and 90s), and black and white shoots. What were some of the steps and interests you had throughout your career in terms of the visual language you used? 

My main goal is always to keep on searching, to keep looking for new techniques I can apply in my work, and not copy myself shoot after shoot. I need to challenge myself with every shoot. This keeps it interesting (and sometimes frightening) for me, but also it feels like it’s the right way to keep progressing and developing.

To which direction do you think your style is developing today? 

If I look at the images I personally am attracted to, they all have one thing in common. They all have something that is “real”; they might be printed, analogue, collages, drawings on top of the photos, have added text, interesting layouts, interesting subjects, something imperfect. It will never be a perfectly photoshopped, digital photo. I need to be triggered by something “real”; it's difficult to explain what I’m actually trying to say. 

For me personally, I haven’t got a clue in which direction I'm developing. I’m actually really glad I don’t know. We’ll see what happens. :)

Erasmushogeschool Brussel

You’ve studied in Erasmushogeschool Brussels, later working as a visual engineer and a cameraman at Outside Broadcast. How did this experience influence your vision and aesthetic choices today as a photographer? 

At first, it made me completely give up on filming. I really wanted to make still images, and I felt it was time for something else. Just recently, I picked up filming again when I was asked to make a video for Charlotte Adigéry. It once again pulled me out of my comfort zone, which excited me. It introduced me to a different kind of filming/directing than what I was used to. 

Back in the days, I worked in a multicam environment, TV shows, sports, music concerts. Which was exciting at first, I could come to places I couldn’t before, like music stages of big festivals, football pitches, TV studios. But after a while, I realized it just couldn’t give me any creative satisfaction. Something I didn’t know I needed until then. That’s when I knew I had to change my course in life and start doing what I loved, which was photography. So the most important thing I learned from that period, is to always try to do what makes you happy.

‘It’s a challenge to find the right clients who book you for the right reasons, with whom you can grow together. It’s all about trust, really.’

Fashion

Developing an updated, edgy, fresh looking language for fashion shoots is one of your strengths, which sets you aside as a photographer with a different, unapologetic vision. What do you love about the world of fashion and its translation to the medium of photography? 

As I said above, to me, it feels really important to keep on searching, never being happy, and always wanting to improve, being open to change, new techniques, or even old ones you didn’t know about. I hope that what I'm doing today will be different than what I will do in a few years from now. In the same way that the things I did a year ago were a way for me to evolve to the photos, I make today.

I like things that are real, real prints, real persons, things that aren’t perfect, aren’t beautiful but are beautiful just because they are imperfect. I like cutting and pasting, drawing, coloring, adding analogue techniques to photos that are otherwise cold and clean, but that come to life if you treat them well, with time, love, and care.

How do you approach the concept of the ideas for new fashion shoots? 

The thing I’ve always liked about fashion is that as a photographer you are supposed to be creative. It’s not just taking pictures, it’s a challenge to find the right clients who book you for the right reasons, with whom you can grow together. It’s all about trust, really. And trusting the creative persons you hire, whether it’s a photographer, stylist, MUA artist, etc.

Upcoming Projects

What are your plans for this year? What are you working on right now?

This has been a really strange year so far, but I’m guessing that applies to everyone and creatives in general. 

The main projects I’m working on right now are new videos and artwork for the upcoming album of Charlotte Adigéry. Meeting them (Charlotte, Boris, and their manager Jarri) was a complete life changer for me last year. They’ve challenged me to do things I didn’t think I could do. They still do actually until this day. It’s frightening, discomforting but also very exciting.

Apart from that, my wife and I are expecting a second baby, coming in September 2020. So that will have a big impact on our life as well.