Creating, experimenting and evolving in a variety of themes, photographer Petros Koublis creates visual magic that will certainly catch your eye! Dark, ethereal and conceptual imagery captivated in an engaging manner and an overall inspiring atmosphere are the keys to his creative work. Today he talks to me about his work, his plans and his views on photography.

Hello Petro! Do you remember what intrigued your passion for photography?

I always had some kind of a creative impulse, combined with the instinct of a collector. A critical combination that motivated me to create more in order to collect more. Photography came as a wonderland, giving me the ability to exploit several parts of my personality. Photography has such an enchanting character. It’s both so strictly rational and so poetic. Like a somnambulist solving math problems; I try to describe that very first feeling I had back then, in the middle of an unknown street, following total strangers with my eyes wide open, without any reason at all. Without any other reason except from just being a viewer.

Your projects focus in a variety of fields: fashion, music, dance, advertising. What is your fav theme?

I think it’s everything. It’s more a matter of aesthetics and proper cooperation. I’m a photographer and my purpose it to make images. Of course I always try to understand the special characteristics each field has, but as long as I’m able to find useful material I will enjoy every challenge, ensuring I will be satisfied with my work by the end of the day. Variety could be refreshing. The more creative freedom the better but the truth is that’s something beyond certain fields.

Can you give us a brief description of a photo shooting session? What is important?

Everything. I see a photo session as a performance; it involves improvisation, but a clear strategy, concerning the way I’ll approach my subject, is significant. So, as location and light are so much vital to my imagery, I always make a satisfying research before every session. Then I’m able to perform, placing my lights, framing and directing the model as I already  had in mind, calmly allowing coincidence to reveal itself but without necessarily hanging on it.  The most important thing of all it’s the persons I cooperate with. I permanently work with another photographer, Vassiliki Svolou, and this cooperation allowed me to concentrate better on my special interests.

Concerning your personal projects … What inspires you, what are you trying to convey through your photos?

It’s more like a personal dialogue. Only less profound than it sounds. I’m speaking with myself but then again not necessarily about my self. There are many possible subjects for someone to speak about. When I notice that some people show interest in overhearing my personal dialogues, it’s really wonderful. Even though they won’t be able to fully understand the conversation once I’m speaking too low. So I only manage to convey misunderstandings through my personal work, just like when someone thinks he overhears an allegory when I’m actually only whistling carefree. 
Who is your fav photographer and why?

The works of Saran Moon and Paolo Roversi are certainly the most influential to me. There is Bill Brand and many others as well. But with Moon and Roversi I managed to discover how a connection between conjectural and professional photography could be possible. And the way they manage to expand their personal style from the absolute technical part to the final print is something that fully expresses my very own personal vision.

Are you working on something right now and if yes, would you like to share?

There’s always something new. It involves a lot of experimenting after all. Once I try to take advantage of the whole palette of possibilities photography offers (from light to editing) there is always ground for new ideas and applications. For the moment I develop a way to refresh my style in terms of atmosphere and texture and so far I’m thrilled with the results. More to come.
Have you had any funny/strange incidents during a photo shoot?

Probably yes. But then again it’s hard to tell if there’s anything worth sharing. Things go strange and incidents happen rather often, but during a photo shoot these are more of a headache, so it’s more like a forgiven - forgotten situation. Certainly not the right time to appreciate the possible narrative value they could have.

Last but not least, where do you see yourself in 10 years from now?

The last ten years I managed to travel all the way from strictly art directed photography to more professional fields, like fashion. I focused on how to expand my perspective and acquire a creative flexibility without losing touch with the very first reasons I had when I started my journey into photography. In ten years from now I hope I’ll establish a satisfying relationship with the industry but I’d also like to find myself in a place where those primitive reasons will remain alive.

Thank you Petro for your time and participation!

Thank you Aphrodite, it really was a pleasure.