Gérald Verdon

06.04.2012 in21:18 in Documentary -->


Born (1958) and raised in Switzerland (Zurich and Geneva). Master of Laws in Geneva. Since 1991, Gerald lives between Lisbon, Portugal and Switzerland, where he mainly works as translator. Photography was Gerald’s first true passion as a teenager. Very early he installed a darkroom at home and learned reading and practicing. At 17, his attempt to follow serious photographic studies at a well known professional school in Vevey, was a failure and he quit after one year.

Gerald was definitely too young to really appreciate and submit himself to the rigorous discipline of the studio room and the wonderful Sinar 4×5. But he learned a lot about optic, chemistry, design and all the technical stuff. Gerald worked, during about one year, as a freelance photographer, made a few exhibits and sold some fine-art prints. Then he dedicated himself to his studies, History and Law, leaving serious photography until 2004. At that time, Gerald bought his first digital camera and got back in the game. Since then, his renewed passion has become increasingly important in his life. Gerald works now almost exclusively with a Leica M8, simply because it was the closest to his young photographer’s experience. He likes to control every aspect of his photographs.

Gerald’s work is foremost on the street and his pet subjects are people and social issues. He was deeply influenced by the French photographic humanist school and the American street photographers. We should add, as people often notice a “cinematic” look in his images, that his very first influence was the cinema, that is to say, the great Italian classics, Eisenstein, Bunuel, Hitchcock and, then, the 70’s American movies. There was an amazing (and almost free) cine-club near his high-school (Le Voltaire) and he spent days and weeks, in a wonderful dark chock-full of all imaginable author’s cycles…

Gerald strongly believes that photography still is a powerful medium to describe and help to understand our world, and as such it should constantly cross the artificial borders between, art, document and journalism.