I believe that modernity
can be a timeless quality.

I'm extremely faithful to the choices I make, almost to a fault! I'd like to think it's all about instinct but it's probably a mix of love and reason. I'm drawn towards soulful, out-of-the-box things that defy standards and seem to have a mind of their own. I have a deep love for old things that hint at other lives and other times. I really believe that modernity can be a timeless quality and nothing pleases me more than an idea or object that is still as brilliant today as it was the day it was born.

SIGMA 24mm F2 DG DN | Contemporary,
SIGMA fp, ISO 400, F2.8, 1/2500s

I like to move around the subject very freely, so I look for light and compact equipment. I don't want to be discouraged from taking the shot because it's too impractical to do so. I also like straightforward gear with an efficient design that focuses on doing one thing very well rather than multi-function equipment with a lot of options and features. I welcome improvisation when it comes to the shooting itself but like to plan the gear ahead, and stick with my choices.

I've been using the I series since they were released and the SIGMA 35mm F2 DG DN | Contemporary and the SIGMA 65mm F2 DG DN | Contemporary have been my trustful companions since then. They made me forget about bulky lenses and I don't think twice before spontaneously taking a couple of them with me when I go somewhere.

For this getaway to the French seaside resort of La Grande Motte, the SIGMA 24mm F2 DG DN | Contemporary was perfect to capture the out-of-size architecture. I took it with me everywhere without a second thought, to the beach, on nighttime walks, and even to the top of the ferris wheel. When you're there, you never really fully realize the scale--and the amount of detail--that goes on in this kind of crazy architecture. Looking at the pictures afterwards made me pause when I saw how sharply the lens captured the intricacies of the scenes.

SIGMA 24mm F2 DG DN | Contemporary,
SIGMA fp, ISO 250, F9, 1/800s

I'm a creative director and style consultant. My main speciality is fashion but my job requires 360 vision, so I'm always looking at art (old and new), architecture, design, beauty, tech, food and lifestyle in general. In my job you have to be able to absorb vast quantities of information while being able to distill the right kind and the right amount for the client that's facing you. I've always been very curious and very passionate about images and their meaning. I love to say that my work is above all else about telling stories. The trick is to tell them well, at the right place and time.

I first came to photography as a way to document everything that I found inspiring. The obvious benefit was that I could use these pictures to communicate my view of the world and the things I found beautiful or interesting. This could lead to new creative ideas and associations. We live in a world where images are plentiful, and we often draw inspiration from the vision of others, but it's a different connection when the inspiration comes from something you've captured yourself. As time went by, photography became much more important to me, to the point of becoming a final creative outlet. My husband and I left Paris last year to move into a contemporary house in the countryside. I now have much more space, I'm surrounded by the beauty of nature and I have great natural light all year round, so it's a great playing field for photography.

SIGMA 24mm F2 DG DN | Contemporary,
SIGMA fp, ISO 250, F9, 1/1250s

I try to be earnest in that I only choose to shoot things that I genuinely appreciate. I find that after a while you see patterns appear in your work, and even if you evolve, there are certain subjects or situations you're always eager to capture, forever trying to get an ever better shot. It's like trying to make the perfect espresso - you enjoy the journey especially because you know it's one that never stops. My job as a creative director is to find balance between instinct and reason, that's what I aim for in photography. Whenever I do commercial work that requires styling I try to leave room for chance while always keeping in mind the message every artistic choice delivers. I fell in love with photography doing reportage style, so to find my place in the very controlled environment of the studio I have to look for ways to make it spontaneous and to surprise myself.

Everything that I love about the I series revolves around a feeling that I cherish above all, which is liberty.

Its minimal, sleek design allows you to use it both for casual outings and for pro shoots. It's universal in that respect.
Its compactness and balanced proportions make it totally unobtrusive, allowing for a more intimate relationship with the subject. It's so reliable that you don't even think about it. The "gear" aspect vanishes and it's only about making images.

Finally, I just love its versatility. When, like me, you switch from architecture to interiors to food to on-the-go travel pictures, having that aperture range between F2 and F22 gives you great creative freedom.

So, in three words, I'd say universal, intimate and versatile.