Pitch White: the essence of CHAOSOPOLIS

The photography technique Pitch

White was developed to enhance

detail of nighttime and evening

images. First introduced in 2007,

the technique has evolved to

become the trademark of the

cityscapes exhibit CHAOSOPOLIS

and is a pillar of its author’s

creative work, Guillaume Corpart

Muller.

“CHAOSOPOLIS” comments Corpart, “is a unique photography exhibit in which cityscapes take

on a ubiquitous nature, thanks in part to the Pitch White technique.” The exhibit features cities

such as Tokyo, Chicago, Mexico City, New York and Miami and is currently concluding a tour of

Mexico. Corpart comments that European cities will soon become part of the mix of global

images. “The very nature of the exhibit is to bring to the audience a collection of images that

they can relate to, such as the city they live in, as well as a series of images that spur their

curiosity.”

CHAOSOPOLIS captivates the audience’s attention

with its surreal nature. The viewer understands

that the images are taken in an evening setting,

however, the presence of bright areas gives the

series an unnatural aura. Viewers immediately

recognize the city they live in, but question how

the image came to be. Further peaking curiosity,

one is drawn “into” each piece due to its sheer

size - on average 130 cm x 100 cm (4’3” x 3’4”)

acrylic mounts.

Seen as a whole, he series opens the dialogue between spectators as per the semblances and

differences of each city and raises questions of sustainability, development, security and life

within our mega-polis. “Issues such as the influenza outbreak, the lack of water and the

economic crisis are some of the leading indicators that we live in a dynamic urban environment

which can quickly change if left unmanaged. CHAOSOPOLIS contributes to setting the stage for

that discussion” comments Corpart. Pitch White brings out detail within the images while at the

same time giving a dramatic feeling to each.

In an interview with Camera Obscura, Corpart discusses his Pitch White technique:

What is “Pitch White” and how does it fit with your work?

Well… Pitch White is a name I came across as it appeared to be the natural antithesis to Pitch

Black. Pitch White essentially helps open the detail

and contrasts of evening and nighttime photography,

giving viewers the chance to pick out specific

elements which would have otherwise gone

unnoticed. When seen in an ensemble, the technique

also spurs the curiosity of the spectator, questioning

how such images came about.

In the case of CHAOSOPOLIS, it is fun to watch people

as they pass through the galleries, looking at the

images, picking out the detail, where they live, where

they hang out, where they went to school, where

their first love was, etc. I find that this “real”

interaction really builds bridges between artist and

spectator.

How did this technique occur to you?

During one of those long nights at work! [chuckle]. I was preparing a series in order to submit to

a contest and was looking for something interesting and different from other typical nighttime

photography. I started playing with lights and contrasts, colors and balances and I came across a

combination which enabled defining detail in a way that I had not seen before. I immediately

knew I was onto something unique. And while I did not win that contest, many other images

that followed were prized internationally…

What are the principal components of this technique?

The technique has evolved over the years, but the four principal elements remain the same.

First, time of day is crucial. When I go shooting, I usually plan several days ahead in order to

identify the exact time of day to find the balance between light and dark, where contrasts

remain strong.

The second is the vantage point, that is, where the pictures are taken from. In the case of

CHAOSOPOLIS, these are usually taken from skyscrapers or helicopters.

Another is the angle with which the pictures are taken. In CHAOSOPOLIS, these are a sequence

of images which are then mounted as layers. This gives me a lot of working room so that I can

maintain elements in their original and natural place, making the images feel real.

Finally, and most importantly, Pitch White is all about the color. Colors have to be natural to be

believable. And in line with the time of day, I have to find the point in which colors are strong

yet where lights glow and remain bright. Rarely do I alter the tone of colors. Rather, I try to

make them stand out within their natural environment.

Where is this technique used? Where do you see it being applied in the future?

Right now, the technique is one of the essential components of CHAOSOPOLIS, my series on

cityscapes.

I am working on a new series for the underwater world, also using Pitch White. There is also a

third series in the works, but that has yet to take form.

Additionally, Corpart comments that several images of the CHAOSOPOLIS series using the Pitch

White technique have won contests, been exhibited and been published in venues such as the

International Photography Awards, the Lucy Awards, Mexico’s Modern Art Museum, B&W

Magazine, The Everyman contest and Nina Menocal gallery, as well as forming part of several

large private art collections.

Images of this series are limited to 10, signed by the author.

See more of Corpart’s work at www.gcmphoto.com.