Champagne - Along Alaska highway (Yukon), Canada
Vu du ciel, la taïga devait se présenter sous la forme d’un champ de verts découpé par un couloir de gris. Vu du sol, la forêt avait été repoussée à quelques mètres des accotements neigeux et, laissée à elle-même, bâtissait des remparts naturels que peu d’hommes franchissaient. Bientôt, elle reprendrait le contrôle de ce territoire d’asphalte ; à la force de sa sagesse millénaire, elle attendrait l’essoufflement des brasseurs de vent et des vendeurs d’espoir pour reconquérir cet espace qui lui appartient déjà.
Seen from the sky, the taiga could look like a field of greens cut by a corridor of greys. Seen from the ground, the forest had been pushed a few metres away from the snowy shoulders, and, left to itself, was building natural ramparts that only a few men had crossed. Soon, it would take back the control of this asphalted territory; at the strength of its millennium wisdom, it would wait for the breathlessness of the brewers of wind and of the sellers of hope to reconquest this space that already belong to it.
From inside cultures, people and countries, Léon wants to reflect the world as it is. With and without lines, Léon tries not to lie about what he sees and lets know what people express, and what landscapes tell. Photographic work processed with films (Ilford HP5, XP2, FP4, Pan 100 & Pan 50, Portra 800, 400 & 160, Velvia 100 & 50, Sensia 100, Ektar 100, APX 100, Fomapan 200, Tri-X 400, Rolleï 400, BW400CN & Superia 400) by Nikkormat FS, 1968 & Praktica MTL5, 1984.