Definitely one of the best Greek photographers on his category if not the best. Dimitri’s Vasiliou or else ‘’shape on you’’ photos gives added value on the visual arts of plenty street artists like blaqk, don40 and many more. This month we’ll be discussing with him about the process he follows but also the difficulties that come up on the way.
Where did you grow up, how Important was this for your art and which was the theme of your first photos?
I was born and raised in Chalkida. The place where I met the people who initiated me in photography, each one with his own way. My first photos were all about street. I took photos of anything eye-catching.
Photographer of several street artists in Greece and elsewhere. How did your first cooperation started and with who?
My first cooperation started with Donforty, Simek and Greg Papagrigoriou, with whom we are connected with friendship bonds. They started painting some years earlier while at the beginning I was joining just for the company. When I started photographing, I slowly began to follow them for another cause, which wasn’t other from photo shooting the murals.
As an almost exclusive partner of Blaqk, how do you work as a team? Your photos give the impression that you are there from the beginning until the very end of the work process. Do you have a say in the final outcome regarding the corners and the other points?
The exclusivity came up from our friendship with Blaqk. I should better say partner-friend. The same way we’d arrange to go out for a beer, we’d put painting in our schedule. One stirs up the other. Morning awakening, coffee and mood for creation. There are many times that I’ll work independently and go back to the same place. Murals may end and the sun may have fallen. The light is essential to be proper. To find the best spot I myself do a research on the area that we’ll meet. Finding a spot is some times a team job since the place must combine harmony in the space and the same time in photography.
How hard is it for someone to photograph on big urban centers? There are many times when large vivid shades appear but also the distances that you have from the artwork are limited and usually with many obstacles.
The difficulties on photograph urban centers comes on what you like to take photos of. If you like urban scenery you don’t have much trouble. Shades, distances and obstacles are a great challenge for me to create on the urban city.
What equipment do large artworks like the last one on Italy on behalf of Emergence Festival require to get photoshooted? Which was the most odd mean you used to take a photo which made it difficult to you?
Even though the specific artwork was large there was no need to use something more than my regular equipment. That happens with every mural whether it’s large or small sized. Means vary based on the spot. For The specific project we had to take a photo on a boat, covered by the festival. A mean that make it really difficult to me was a small crane which was unstable because of the air. What will usually, make me really nervous though is the lack of time.
What time of the day do you go out and begin to work? Are the best hours in your kind of work early in the morning or afternoon like the classic photographers? Do you work only with natural light?
I usually start in the morning so that I have the chance to take my time and observe the light during the day and then chose. The hour I’ll photo depends on the kind of light I want the object to have. It might need to have bright light and so to photo on the midday. Thus I prefer to work with natural light.
What is your opinion on street artists? They spend a lot of money just to create their visual art on a society that doesn’t seem to appreciate them, at least for now.
Regarding street artists I have a great opinion and I really respect them. I like seeing art on the street and in nature, wherever it is. It never comes unnoticeable to me. They spend a lot of money not for their visuals but for their passion. If you love what you do and have fun you don’t even care for the other factors.
Have you ever contribute on the painting of an artwork? If not what are you doing all those hours until it’s done?
Yes, I have helped many times on the painting, measuring ect. When I don’t help or photo the mural that’s on process I usually explore around it with my camera. The hours of painting might be plenty but for me they are hours of creation.
Is there something else that keeps you busy this time relevant to photography?
Except from street art photography, I work on a personal project which main focus is the forms and lines on architectural photography. I usually use photos from my trips on Mediterranean sea the past 5 years. As photographer though I never stop working with street photography. It’s something that stimulates me. I love wondering on the streets and ‘’looking for photos’’
In ten years from now…
Still a photographer…
My first photos were all about street. I took photos of anything eye-catching.
I usually start in the morning so that I have the chance to take my time and observe the light during the day and then chose