That’s why Comte has capped off his first five years as a photographer in the new tome. “I wanted to create this object that is the symbol of the first years of my career, and that is the symbol of how I see my work and of how other people see my work,” he says. He defines the throughlines of his early work in three ways: Cinematic energy, simple portraiture, and surreality. Each theme is explored in his book, with models like Anok Yai gazing down his lens in a bridal Dilara Findikoglu leotard or Kris Grikaite glaring at the camera in a white photo studio.
Anok Yai photographed by Hugo Comte A male photographer shooting women has potential to go very wrong, of course, but the women who star in Comte’s imagery and his book express a raging agency. They are vicious, but not without a tenderness about them. He uses the word superpower in describing one of his archetypal obsessions, and you can’t help but think that Catwoman would be his ideal subject. Someone hard to pin down, cunning, and fierce to the touch. “It’s an obsession with a certain power that I like to extract,” Comte says, “It’s in their intention, in their depths, and their thoughts.”
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