Après des études de journalisme, brillamment réussies, Clément Hudry était destiné à rejoindre une des nombreuses rédactions parisiennes qui lui tendaient les bras.
After highly successfully completing a degree in journalism, Clément Hudry’s could have taken the easy option with several Parisian editors offering him a job. However, his love for his mountains was stronger.
Indeed he is as talented behind the lenses as with a pen, so he chose photography of his beloved Aravis.
His unique shots portray the mountains at their best and in just a few years he has become a mainstay in alpine photography.
In what way is your work influenced by the Aravis and in particular La Clusaz?
The diversity of the landscape is for me, the biggest advantage of this area. For example, you can immortalise a sunrise in a very alpine atmosphere from the summit of the Pointe Percée and then finish the same day taking shots over the calm waters of Lake Annecy from one of the jetties. The area is also steeped in history from the small, authentic hamlets, still inhabited by locals to the traditional festivals, there are so many stories to tell and share!
Which photographers are you inspired by?
I love working with images in all its forms and my inspiration comes from many areas. For sporting events and trails in particular, I love the work of Alexis Berg for his distinct style. As for landscape and alpine photography, I have always been touched by the images and technical mastery of Alexandre Deschaumes.
Alpine shots are not the easiest. Could you give us some tips on how to take better pictures?
On the whole, I advise going into the mountains at offbeat times to catch a good light at sunrise or sunset for example. I rarely take photos in daytime, as the midday sun doesn’t pick up on the beauty of the mountains, especially in summer. I don’t really like sunny days with blue skies as the light is too flat. When I come to a spot that seems interesting, I look for a dominant line, a shape or symmetry, its best to abandon the idea of a composition, an ensemble piece as they are difficult to balance. When you select a detail, a precise element in the environment you have more chances of taking a unique shot.
In reportages, you often mention how difficult it is to work on sporting events and in nature. Do you have an anecdote to share with us?
Let’s say, that I’m very good at getting myself into scrapes…(laughs). In May 2019, I was lucky to cover the Transvulcania, a trail event in La Palma in the Canary Islands. It was a great opportunity with two days checking out the location in amazing volcanic landscapes. But then I lost my credit card. I realised on the day of the event. I had to take photos from 5am to 7pm in blazing heat, running between each shot, without eating and hardly drinking. I finished totally exhausted and stuffed myself at the final refreshment tent with the athletes, most of them were less tired than me!