Paris-born Matthew Bittan, a leaky ambassador, has taken a picture of some of the most famous artists in the world, including Quincy Jones, The Rolling Stones, Kandric Lamen, Lady Gaga and Bruce Springstin, as well as designing and art directing albums, posters, books, and promotional content-thin grames. Here he explains how to break through a creative block, why the rules of composition have to be broken, and why it burns sweetgrass on used equipment.
What are the care items in your bag?
Lika M11 monochrome with APO-Summicron M 50mm F/2 And additional battery, Lika Q3Vintage Lika SF -20 flash, lens wipe, USB -C charger for both phone and camera, a lighter (I do not smoke, but someone always needs a light in my business), a notepad with a pilot ballpoint pen, a notepad, some old trade paperback, currently currently Mr. Majesty By Elmore Leonard.
What art books should every photographer have?
In any specific order: Henry Miller and Brasa Cool day in clich (Original rare printing), Gordon Park The work collected, Elliot Ervit Paris, New York, And Dogs, Henry cartier-bread defining moment, Harman leonard Jazz memories (Vintage French version) or Jazz (US), William Claxton Jazz life, Bruce davidson Former 100th Street, Rouxain lovit Moment, Irving pen Small trade, William Egluston Outlands, Gym marshal evidence And Jazz, Ernest Cole Bonding house, Dianee Arbas An aperture monograph, Malik sidibe Mali twist, Jacques Henry Laquigue Invention of happiness, Sebastio salgaadado Produce, Richard awedon an autobiography, Wage Nude city, Ansel adams Camera.
How do you know when a picture is a success?
When I do not have to ask myself, whether the image is good or if it works for the desired job or vision. I think there is a silent language for a successful picture. I do not like to follow technical rules. I like the law of symmetry or third, but do not apply it to a great image. The reality does not follow as many rules as we would like it. As far as I am concerned, it is better than the rules.
Which photographers inspired you? What inspired you about their work?
Henry Cartier-Bracen, Bruce Davidson, Jim Marshall, Elie Reid and of course Gordon Parks. Contemporary Andre Wagner and Phil Pennman who inspire me are. The lord of the craft. Brasso has a huge impact on my new book Paris Blues. The fact is that he spent hundreds of thousands of hours patiently spent in capturing incredible moments that would be lost forever. His dedication to craft. The choice and love of specific cameras (as a lentil collector and user, I understand that a person can be married with some cameras). These photographers see something in this world, I believe I also see. About another dimension that exists parallel to us. Many of these photographers were courageous and used to put himself in uncomfortable places to catch some tasks. And black and white inspire me a lot. My first published book Darker than blue, Those who were black and white, were very inspired by the park and reed. And James van der Zee.
What photo skills do you wish you were better?
Leica M. The zone, which focuses with, has seen my friend Phil Quunco in Lika better, which I have ever seen. This is only one thing that I envy. And my friend is equally faster as Mark Depola, which is with Leka Noktilx 50 mm F/0.95 lenses. I am slowly reaching there. But Mark is a true master of craft. His upcoming book A stab in heaven There is a great example of the use of that lens from the film of the same name.
Do you have a ritual? Superstition?
Showing gratitude is a ritual, even though before shooting. I like to clean my cameras before each use, even if with lens cleaner or wipe. Ensuring that SD cards are erased is also an important ritual. To ensure that all batteries are charged. We all made that mistake earlier. Superstition: Yes, I never like to talk about shoots or projects before announcing. I never get excited or show at least any enthusiasm when I book a new project that may be out of fear. I collect the rings of the old Fred Harvey American turquoise and in the culture (which I have genetically nothing), they burn Sweetgrass to bring new energy for old things, so I do this that I buy with old leaks and lenses. I once bought a 1980s Leka M6 from a piece of West Hollywood and as I paid for it, the boy told me the gentleman that a bus was run by a bus during shooting a photo of a building, such as one of my favorite architects, Antony Gowdi, was killed at 73 years in 1926, but it was a traum in Barcelone. I also have a big passion with numerology, so even the serial number on my cameras will have to add a good number. Incidentally, the new Leica M11 Black Paint “Leica 100” New York City Edition Camera that I got last week is #73. I was also born in 1973.
Where do you find inspiration for an image?
I get inspiration in my subjects and history that brought us together. I am not a big mood board. I know people who put amazing boards before a shoot. I do not like to see other things to inspire me. Of course, my brain is full of beautiful images that inspire me, so it is like a fictional data bank of inspiration. However, I will inspire poetry. My favorite beat poets such as Allen Ginsburg, Lawrence Ferlingeti, Gregory Korceo, Jack Carraok and French poets such as Giloom Apolineer, Charles Bodelear and Arthur Reimbaud. Great films can also inspire me. Lewis dirty ki Lift for hanging Will always trick, especially with its incredible Miles Davis score.
Photographers are always asked to develop a style or find a voice, but there is very little advice about finding that voice. What guidance can you give?
I always tell young photographers who ask me how I have reached the point where people recognize my work. This is something that I always try to fulfill. I ask them to stop trying to follow other photographers. If you are trying to come up with specific lighting, then it is only a good practice. “How did Avedon do this?” “How much light did Hurst use?” It is specific. I tell them that they keep digging, keeping the shot in your mind, keep installing it, then repeat it a thousand times until different subjects look so that they are part of the same series. Take a risk. Until you come with your own look, then fail as many times as you need.
Did you ever have a creative block? How did you cross it?
More than some time! This is the worst feeling when you get stuck. Because I am first an art director and designer, there is a sequence of stepping into my work. The worst thing is that if I ever lose my inspiration – then it is due to personal failures or stress, forces of nature. How do I get out of it? Sometimes it is as simple as I admire someone (usually a great artist) gives me a heartfelt praise for a specific piece of work. It seems self-aggressive, but we all have the small child version of our own that sometimes feels unsafe or scared. This is something through which I have to work hard to break. And when I do, my work improves.
What do you have the best learning experience ever?
I have always been known to wear many hats in my career. When I was 12 years old, I started running my “career” a Prince Fan Club. Then I started designing fanzines and bootlag CDs that I wanted to make officially one day. Then I began working as an art director and designer in fashion (I was a senior packaging and design director for US Eagle outfitters at NYC in the mid -1990s, which was excluded exit of NYU). Then I had the opportunity to work on a book on a BlaxPlitation film poster with Quentin Tartino, so I left that job and came to LA to work on it. One thing gave birth to another and I started working on a lot of album covers, box sets and DVD packaging among other things. Then I started managing the artists. Musicians. I was also building some music projects. Shooting. Designing, etc. The story is very long for this, but I met Quincy Jones, who really liked me and my works in the early 2000s. I used to go to her house for dinner and bring her new projects, on which I was working or the things that were just revealed. Well, one day, he corn me and asked me what I have done, all of them, I like the most and – most importantly, because I never slept – what was possible to pay my bills. He said that I was doing too much and I needed to focus on the three of the ten things I had focused on. This is when I started focusing on photography and things actually took a turn for the best. I was proud of the shooting of Quinesi’s last at-hom photo shoot a few years ago. He passed a few days before my inauguration Paris blues Last November, exhibition in Leica Gallery Meetpacking at NYC, and thus I dedicated the show to him. He is also in the book, as we spent some great time in Paris over the years.
What technique do you use the most?
Rangefinder on leika m cameras. There is no better way to lock in a magical moment. The autofocus is very good, and I use it with SL3-S cameras and backstages with concert with Q3 and Q3 43 cameras, but the rangefinder makes me feel like a paintbrush. This is the one that distinguishes users from every other type of photographer, including phone photographers. It is so beautiful and authentic about using an all-manual camera in 2025.
When you look at the earlier work, what are your thoughts?
I see how much I had to be desperate as a photographer because I had a lot of friends who were great photographers when I was coming to NYC. My roommate was a great photographer during my nyu days. I never thought that I could really become a professional photographer. My earlier work reflects a naivete and a little insecurity that I like to see today. In a way, I still think I am just starting.
Bio: Paris -born Matthew Bittan is a photographer, designer, art director and producer who has worked with some of the most famous artists in the world, including Quincy Jones, The Rolling Stones, Kandric Lamar, Stevie Wonder, Lenny Cravitz, Dave Chappell, Lady Gaga, Mail Brooks, Brox Sproke Sprokes, Bracenstein and DONSS. He has directed and directed albums, posters, books and promotional materials for a wide range of filmmakers, musicians and entertainers. He is a three -time Grammy winner, Knight in the Order of Arts and Letters, and the recipient of the President of the United States for his book Paris blues In 2024. He explains why the rules of composition have to be broken, why you should burn sweetgrass on the equipment used, and how to break a creative block.
Top ten There is a recurring feature in which we give remarkable photographers a list of questions from which they choose their favorite ten (or in this case, twelve) to answer. Answer can be edited for length and clarity.
Website: www.mathieubittonphoto.com
Twitter/Instagram: @candytman
Headshot Credit: © 2024 Jason Roman @Stockezy.
All photos allowed by Matthew Bitton.
