F.A.Q.

Things about me doing photo and video and/or me in tango that I often get asked or that I thought may be useful to know. This page may be updated with new entries.

Use/Copyrights

Please find information on page "Conditions of use".

"Will the photos be online tomorrow?" "Why does it take much time?"

I know that the trend is to have things published very fast, having people "like" photos their friends appear on so that they spread a little bit. The demand is for some type of "quick and dirty" ego- and event- promotional material. As long as it can be seen on a mobile phone. All which result in a lot of "noise" and "forgettable" data chunks.
I have never been attracted by this approach. I usually have in mind to produce things that one may remember and possibly want to have a look at in the future *1. Or at least I try to *2. I stick somewhere between a technical and a creative approach, but not a journalistic one.

Concretely, I progressively increased quality of my works and with it the required amount of work. Hence, seriously shooting photos or videos for one night may result in one up to multiple nights of work afterwards. And depending on my agenda and other things in life, they may take days, weeks and even sometimes months to be ready.

  • *1 This does not exclude some non-mainstream creations. I just don't expect those to reach the same audience.
  • *2 Keeping in mind that there is always a degredation compared to the original when you put something online (on sites like social networks/video streaming sites), that my own view change with time and yet I am usually not totally satisfied with what I do. Usually, when you look at my tango albums, you will find the best photos I am really satisfied with at the start. Then, the further you go the more you will find photos that I am less satisfied with but that had something going for them or that I found fitted the event illustration. It is always a bit difficult to set the treshold of what is to be published and what is not. Then you will usually find the portraits, experimental stuff, repeated stuff, ... Those last photo groups may be excellent but I prefer to put them after the other tango pictures. Sometimes I order things differently, such as in chronological order if I feel that it is more appropriate.
"It really shows that photography is your profession."

No. It isn't. At all. (And here is a long text about "How I started tango AND photography".)

"Why did you don't dance much?"

Here is a longer explaination about "Why I do not dance much".

"Why did you not say Hi?" / "Why did you greet although we don't know each other?" / "Why don't you remember my name?"

Some things to consider first at that I am myopic from one eye and astigmatic from the other. And I am not much extrovert.

Then there are people who I never talked to and we never greeted. So it like a tradition not to greet with these people. Not big problem, and can be solved easily if necessary.

Then, there are so many people to greet in tango, and some are busy dancing/talking when you arrive that it is not necessarily obvious to greet so everybody you may know. Hence I always say one shouldn't take things personally unless it is obvious that it is personal.

Also, sometimes, my social memory overflows and it happens that I confuse people who I don't know that much yet. And sometimes some people look similar. Some women in tango dress and with hair attached by groups of up to three or four.

"During the (Brussels) festival, you (the "official" photographers) should split responsability to shoot each event among the "group" so that would make less work in the end."

Such a complex thought but I heard at least two or three times.

It is a wrong idea.

It is not that there is any kind of harsh competition but there is no team work either.

One reason is that we are not there to fulfill some "reporting" requirement, but we (most of us I guess) see photo as technical-artistic creation. Hence each photographer wants to shoot the events he feels inspired about and each has his own style of shooting and editing. So this idea would not benefit to photographers.

And it would not benefit to the festival either. That's a guess, but as most things are not centralised on the official site and each photographer/video maker publishes their work on their own channels, the festival gets even more visibility the way it is.

If there are advertisements at the start of your YouTube videos, do you get money from them?

No. I think that it would be fair if it was the case, given the fact that I don't get much money back from photography. But no, it goes to copyright owner of the soundtrack. And of course a part of it goes to YouTube.

When YouTube detects a copyright content in the soundtrack, all revenues for the video automatically go to soundtrack the copyright owners. I think that, in one hand, this system is great because it legitimise an "approximate fair use" or copyrighted music without requiring to run after a copyright agreement every time you use such music. On the other hand, it is unfair because the soundtrack is not the whole creation in itself. I think that the person who created the video should get a share of the revenue, and, thinking of my tango videos, in an ideal world, the maestros and other people involved in the making should get something as well.