Caroline Lazaro

Born in 1980 in Charenton le Pont (Val-de-Marne), Caroline Lazaroo graduated from ESRA (École Supérieure de Réalisation Audiovisuelle) in 2001 after three years of training.

It was during his studies that, in 1999, his career as a professional cameraman began on the reports intended for the television program Rive gauche / Rive Gauche by Thierry Ardisson. She continues this career until today, participating in the making of numerous documentaries, clips or television magazines. Fan of cinema (Scorsese, Tarantino, but also Godard, Truffaut or Sacha Guitry) she develops, in particular thanks to the appearance of digital SLR cameras, new forms of shots by using photo optics to play on the blur of backgrounds or depths of field and give a "cinematographic" aspect to his reports. This evolution of his professional practice is accompanied by an increasingly marked desire to go beyond the "raw" dimension of the rushes of his video shots by turning to photography in order to capture the "essence" of the image in a new "fixed" but "elaborate" dimension.

In 2017, after having taken several series of photographs in the context of abandoned places, she began to develop a passion for URBEX (abbreviation of the English term urban exploration - urban exploration), a practice consisting of visiting places built and then abandoned by the man. To better capture the "end of the world" dimension of these spaces abandoned by man, Caroline Lazaroo chooses to give her photos an aspect close to drawing to go beyond the appearance of "discharge" which resides in the raw photos of these places. neglected. His work always follows the same process: the shooting is done with a long exposure time, in daylight, with an entry of light likely to allow to play on the shadow / light contrasts and to give relief to the elements which compose it. No artificial filter is added to it. Then begins a long process of digital retouching of the image with the help of meticulous work aimed at accentuating the "defects" of the material to achieve aestheticization of the "destroyed", "apocalyptic" side of the place. The final rendering is then fascinating as well as astonishing because, as she likes to say, "the much reworked photo looks curiously more like what I saw on the spot than the" Raw "snapshot of the shooting".