{"id":15426,"date":"2026-01-22T08:00:11","date_gmt":"2026-01-22T07:00:11","guid":{"rendered":"https:\/\/openbcnstudios.com\/maitrise-method-photo-studio-barcelona\/"},"modified":"2026-02-04T17:06:29","modified_gmt":"2026-02-04T16:06:29","slug":"maitrise-method-photo-studio-barcelona","status":"publish","type":"post","link":"https:\/\/openbcnstudios.com\/fr\/maitrise-method-photo-studio-barcelona\/","title":{"rendered":"The white backdrop in the middle of the desert"},"content":{"rendered":"[vc_row type=\u00a0\u00bbin_container\u00a0\u00bb full_screen_row_position=\u00a0\u00bbmiddle\u00a0\u00bb column_margin=\u00a0\u00bbdefault\u00a0\u00bb column_direction=\u00a0\u00bbdefault\u00a0\u00bb column_direction_tablet=\u00a0\u00bbdefault\u00a0\u00bb column_direction_phone=\u00a0\u00bbdefault\u00a0\u00bb scene_position=\u00a0\u00bbcenter\u00a0\u00bb text_color=\u00a0\u00bbdark\u00a0\u00bb text_align=\u00a0\u00bbleft\u00a0\u00bb row_border_radius=\u00a0\u00bbnone\u00a0\u00bb row_border_radius_applies=\u00a0\u00bbbg\u00a0\u00bb row_position_desktop=\u00a0\u00bbdefault\u00a0\u00bb row_position_tablet=\u00a0\u00bbinherit\u00a0\u00bb row_position_phone=\u00a0\u00bbinherit\u00a0\u00bb overflow=\u00a0\u00bbvisible\u00a0\u00bb overlay_strength=\u00a0\u00bb0.3″ gradient_direction=\u00a0\u00bbleft_to_right\u00a0\u00bb shape_divider_position=\u00a0\u00bbbottom\u00a0\u00bb bg_image_animation=\u00a0\u00bbnone\u00a0\u00bb][vc_column column_padding=\u00a0\u00bbno-extra-padding\u00a0\u00bb column_padding_tablet=\u00a0\u00bbinherit\u00a0\u00bb column_padding_phone=\u00a0\u00bbinherit\u00a0\u00bb column_padding_position=\u00a0\u00bball\u00a0\u00bb flex_gap_desktop=\u00a0\u00bb10px\u00a0\u00bb column_element_direction_desktop=\u00a0\u00bbdefault\u00a0\u00bb column_element_spacing=\u00a0\u00bbdefault\u00a0\u00bb desktop_text_alignment=\u00a0\u00bbdefault\u00a0\u00bb tablet_text_alignment=\u00a0\u00bbdefault\u00a0\u00bb phone_text_alignment=\u00a0\u00bbdefault\u00a0\u00bb background_color_opacity=\u00a0\u00bb1″ background_hover_color_opacity=\u00a0\u00bb1″ column_backdrop_filter=\u00a0\u00bbnone\u00a0\u00bb column_shadow=\u00a0\u00bbnone\u00a0\u00bb column_border_radius=\u00a0\u00bbnone\u00a0\u00bb column_link_target=\u00a0\u00bb_self\u00a0\u00bb column_position=\u00a0\u00bbdefault\u00a0\u00bb gradient_direction=\u00a0\u00bbleft_to_right\u00a0\u00bb overlay_strength=\u00a0\u00bb0.3″ width=\u00a0\u00bb1\/1″ tablet_width_inherit=\u00a0\u00bbdefault\u00a0\u00bb animation_type=\u00a0\u00bbdefault\u00a0\u00bb bg_image_animation=\u00a0\u00bbnone\u00a0\u00bb border_type=\u00a0\u00bbsimple\u00a0\u00bb column_border_width=\u00a0\u00bbnone\u00a0\u00bb column_border_style=\u00a0\u00bbsolid\u00a0\u00bb][vc_column_text css=\u00a0\u00bb\u00a0\u00bb text_direction=\u00a0\u00bbdefault\u00a0\u00bb]I’m passionate about portraiture.<\/p>\n

I always have been. I’m fascinated by that moment when someone decides to stand in front of a camera and reveal themselves. That’s why I love the story I’m going to tell you today.<\/p>\n

In 1979, Richard Avedon was the most famous fashion photographer in the world. He had photographed Marilyn Monroe, worked for Vogue, his images defined the aesthetics of an era.<\/p>\n

That year, Mitchell A. Wilder, director of the Amon Carter Museum, proposed something unusual: photograph the American West. Not the landscapes, but the people. Coal miners, slaughterhouse workers, ranchers, drifters.<\/p>\n

Avedon accepted. But with one non-negotiable condition.<\/p>\n

He took his photo studio to the desert.<\/p>\n

For five years, from 1979 to 1984, Avedon and his team traveled through 17 states, 189 towns. They set up a roll of white paper in the middle of Wyoming, at a rodeo in Montana, next to a slaughterhouse in Nebraska.<\/p>\n

The same method he used with celebrities in his Manhattan studio\u2014white backdrop, total control\u2014now in dusty Western towns. With one difference: natural light. The Deardorff 8×10 camera was heavy enough to move in a van. There was no room for lighting equipment.<\/p>\n

752 sessions. 17,000 sheets of film exposed.<\/p>\n

Why maintain that system?<\/h3>\n

Because Avedon had discovered something fundamental: total control doesn’t depend on the space, it depends on the method.<\/p>\n

His white backdrop wasn’t decoration. It was an elimination system. It removed the noise, the distractions, the context that could condition the gaze. What remained was pure: the person, their posture, their gaze, their vulnerability.<\/p>\n

But there’s something deeper.<\/p>\n

Avedon meticulously prepared each session. He talked to his subjects, asked difficult questions, created a space of trust before the click.<\/p>\n

Laura Wilson, his assistant throughout the project, documented how Avedon never hid behind the camera. He stood beside it, talked, connected.<\/p>\n

The white backdrop was the tool. Human connection was the goal.<\/p>\n

A coal miner covered in soot, a drifter on Interstate 80, a physical therapist in Montana. All photographed with the same dignity as Hollywood stars. Because for Avedon there was no difference: each person deserved the same rigor, the same respect, the same obsessive attention to detail.<\/p>\n

When the series was exhibited in 1985, it was controversial. Critics were divided: some considered it magnificently moving, others accused it of being cold and lacking empathy. A local newspaper wrote: \u00ab\u00a0This is not our American West.\u00a0\u00bb It showed coal miners covered in soot, exhausted workers, faces without smiles.<\/p>\n

It wasn’t the romantic West of movies and Marlboro ads.<\/p>\n

Avedon knew it:<\/p>\n

\u00ab\u00a0This is a fictional West. I don’t think the West in these portraits is any more real than John Wayne’s West.\u00a0\u00bb<\/p>\n

His response was clear: he didn’t aim for objectivity. He aimed for control. Control to create the space where a person could show themselves without masks.<\/p>\n

And that control began long before the shot.<\/p>\n

 <\/p>\n

Three years crafting a method<\/h3>\n

openbcn studios has never been just a photo studio in Barcelona. For 3 years I’ve worked to be able to name something that makes it different.
\nNow it has a name: MA\u00ceTRISE<\/a>.<\/p>\n

When I started with this photo studio, my biggest challenge wasn’t the space or the equipment. It was getting people to understand me. Not to compare me only by square meters or rates. To see what a different photography studio really offered.<\/p>\n

But I came from portraiture. And from portraiture I learned that what people value in photography production is how they feel when you work with them. It’s not about looking good, it’s about being able to show an attitude. That’s what control gives you. Anticipation. Taking care of the small details so you can then improvise during production and get that extra something.<\/p>\n

Like Avedon taking his white backdrop to the desert.<\/p>\n

MA\u00ceTRISE is our white backdrop. It’s the system we’ve built so that when you arrive at our photo studio in the center of Barcelona, everything\u2014absolutely everything\u2014is designed so you have total control, without noise.<\/p>\n

It’s not just the beautiful photography studio. It’s not the expensive gear. It’s the obsession with eliminating friction. With anticipating. With creating that space where you can concentrate on the only thing that matters: your vision.<\/p>\n

That’s MA\u00ceTRISE<\/a>.<\/p>\n

The reviews I receive about OpenBCN Studios don’t talk about the cyclorama or the room. They talk about how they felt working in the studio, simply.<\/p>\n

Avedon understood that his job wasn’t to take beautiful photos. It was to create the conditions for truth to appear.
\nNot all photography production projects need this level of control. Each producer has their priorities. And that’s fine.
\nI chose to specialize in one: total control without friction in a photo studio in the center of Barcelona. In creating that space where you don’t have to think about anything except your vision.<\/p>\n

If that’s what you’re looking for in a photography studio, then maybe openbcn studios is for you.
\nMarc
\nwho also writes l\u2019Atelier d\u2019Id\u00e9es<\/em> by openbcn studios<\/span><\/p>\n

P.S. The complete \u00ab\u00a0In the American West\u00a0\u00bb series has 103 photographs. None were cropped, none were retouched. Avedon’s system worked because every element was planned from the beginning. 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