I choose to capture
what I love.

Pauline Chardin

SIGMA 35mm F2 DG DN | Contemporary, SIGMA fp, ISO400, F10, 1/125s

SIGMA 35mm F2 DG DN | Contemporary, SIGMA fp, ISO200, F8, 1/100s

SIGMA 35mm F2 DG DN | Contemporary, SIGMA fp, ISO200, F2, 1/1000s

SIGMA 35mm F2 DG DN | Contemporary, SIGMA fp, ISO640, F2.8, 1/125s

SIGMA 35mm F2 DG DN | Contemporary, SIGMA fp, ISO1000, F2, 1/80s

SIGMA 35mm F2 DG DN | Contemporary, SIGMA fp, ISO200, F3.5, 1/160s

SIGMA 35mm F2 DG DN | Contemporary, SIGMA fp, ISO400, F10, 1/125s

SIGMA 35mm F2 DG DN | Contemporary, SIGMA fp, ISO500, F4.5, 1/125s

SIGMA 35mm F2 DG DN | Contemporary, SIGMA fp, ISO400, F2.8, 1/2500s

SIGMA 35mm F2 DG DN | Contemporary, SIGMA fp, ISO400, F13, 1/80s

* Images without photograph data have been created with SIGMA fp and other lenses produced by SIGMA.

SIGMA 35mm F2 DG DN | Contemporary, SIGMA fp, ISO200
F2.8, 3200s

I’ve been a long-time SIGMA aficionado, going right back to the first DP1.Over the years I’ve used the Merrill, the Quattro and more recently the fp. My travel photography has evolved from shooting with compact, fixed-lens cameras to using the SIGMA fp, which allows for a richer, creative experience with the ability to switch lenses. I can even now borrow my husband’s vintage Leica lenses as they are both L-Mount. I come from an artistic background that isn’t limited to photography and draws on painting, graphic design and other creative mediums. This definitely plays a big role in the way that I approach my photographic work.

The first thing I noticed was how compact I series lenses are, and how perfectly balanced they feel on the SIGMA fp body. When you first put the lens on the camera it really feels like it has always been there. And when you start to use it, the quality feel of the material and the smoothness of the aperture ring are extremely impressive. I love the possibilities the L-Mount presents. I will definitely use it with the fp but I’m curious of the other kits I could imagine with it.

Can you tell us about your experience as a fashion designer/stylist? How did you come to be working in this field?

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 distillate 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 else about telling stories. The trick is to tell them well, at the right place and time.

What role does photography play in your life and career?

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 35mm F2 DG DN | Contemporary, SIGMA fp, ISO200, F2, 1/800s

How do you create your own style?

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.

Why does the I series suit you so well, and which three words would you choose to describe your experience of using these new lenses?

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.

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