Yan Koch
I reveal the complexity, strength and peacefulness of multi-century-old giants with an eminently cold, repetitive instrument.
I began my 3D captures in 2011 to provide precise building plans. From the very first point clouds, I recognized the artistic potential of this raw digital material, which consisted solely of coordinates.
Soon, for each project, I was trying to create visuals that were often more time-consuming than the project itself!
One day, while scanning the façade of a manor house, I came across a tree in the courtyard. Its capture was average, but I saw in it a gigantic domain to explore.
Enough to fuel my overactive brain for a long time to come.
Eventually, I started scanning trees specifically and developed a unique know-how.
I look for individuals twisted by time and hardship, those that will reveal unexpected shapes... Biz'arbres as Catherine Lenne calls them.
Alongside some gifted developers, I've also designed tools to help me create these exclusive images, such as specific filters and a software program called OpenScanTools, a free open source tool for exploiting massive point clouds.
My ultimate goal is to create a worldwide database of remarkable trees in 3 dimensions, a digital memory of these fragile behemoths.
My work goes in the opposite direction to that of an art photographer. The photographer has to return to the site until he gets the right angle and the right light.
In 3D laser capture, the work on site is fairly mechanical, but with certain constraints for the trees: no wind, no rain, no passers-by, and if possible, no leaves to avoid occlusions. So I do it in winter at dawn.
It's in post-processing that almost everything comes into play, as we enter this galaxy of points. And that's where you place your camera, with the option of modifying its position to the nearest degree, and even positioning it under the tree.
It often takes dozens or even hundreds of tries before the desired image is obtained.
From a single subject, I can create an infinite number of images.
