Léon Prost is a French photographer with an eye for the surreal in the everyday. His flash-heavy, raw aesthetic turns fleeting moments into vivid stories, capturing the humor, tension, and quiet absurdities of life. Prost’s work feels unfiltered yet intentional, inviting viewers to see the world from new angles.
Prost’s path to photography was as eclectic as his images. Before picking up a camera, he explored everything from directing music videos to curating pop-up restaurants. This varied background feeds into his work, giving it an instinctive, curious energy that feels refreshingly authentic.
Known for his 28mm lens and no-retouching approach, Prost highlights the imperfections that make his subjects real. His images move effortlessly between the mundane and the monumental, creating a sense of immediacy that feels both honest and cinematic.
At the core of Prost’s photography is storytelling—each frame feels alive, breathing with movement and emotion. His ability to elevate the ordinary into something extraordinary makes his work not just striking, but deeply human.
What first drew you to photography, and how has your relationship with it evolved over time?
Before photography, I had worked in many different fields. I started out as a director in a duo, crafting music videos and commercials. I also worked on a brand with friends of mine, I worked in real estate in Paris, I had an event company specialized in curating short-term restaurant gigs for chefs, and actually many more different lives. I started photography organically, and things picked up quite fast for me, and I chose to make it my full-time career.
What subject or theme do you find yourself returning to the most?
I’m always looking into capturing the everyday absurd. I’m fascinated by how the ordinary can turn surreal when seen from a certain angle—or under a certain light—and how you can reveal parts of people or situations that usually tend to be hidden from the human eye.
What’s a moment behind the camera that you’ll never forget?
There is not one particular moment that is more memorable. I think each shoot has a surprising component, either good or bad, that keeps things exciting and keeps me going forward. I have known some very unusual and truly amazing moments, whether it was a group of models, our former president, or just a street shot while walking outside.
Your images radiate spontaneity and raw energy. Even in staged settings, how do you keep things feeling so alive?
I think the feeling of keeping things alive comes from never aiming for perfection. The slight imperfections are what give the image its energy because it comes from reality. I try to let the scene breathe and capture that ongoing movement. I also move around a lot when I shoot—I find that this bodily energy actually translates in the images I capture.
Imagine one of your photos is being used to introduce you to the world. Which one would you pick, and why?
“Ashtray,” because it is a good example of my belief that a story can be told with the simplest elements. This kind of photograph invites the viewer to interpret freely, letting their imagination fill in the gaps and create their own narrative.
Your flash-heavy, no-retouching approach is bold and distinctive. What led you to this style, and how do you think it shapes your work?
Initially, I used flash out of necessity—I didn’t fully understand how to operate a camera, and flash allowed me to close the aperture, keep everything in focus, and ensure consistency when capturing movement and energy. What started as a workaround quickly became integral to my style.
As I grew more technically confident, this approach evolved into a deliberate choice. Flash highlights details that might otherwise be overlooked, while no retouching preserves a sense of raw honesty. It’s also influenced by my analog practice, allowing me to work quickly, stay spontaneous, and stay close to my subjects.
You’ve shot everything from high-end brands to casual, off-the-cuff moments. How do you switch gears while staying true to your style?
I try to treat everything as storytelling. Whether it’s a luxury campaign or a casual street shot, I try to find the narrative in the frame. For commercial jobs, I mainly try to follow the client’s direction and layer my way of working on this base. Luckily, a lot of clients come to me for my photographic style, so often I can express myself the way I like to.
Which lens do you swear by, and why?
The 28mm. It lets me capture wide frames and movement just the way I like. I also enjoy cropping within the images afterward—it’s part of my creative process.
Are there any photographers, artists, or even filmmakers whose work inspires you right now?
Feng Li, Richard Billingham, Ren Hang.
If you could shoot anything or anyone in the world, what—or who—would it be?
I don’t have something or someone in particular in mind, but I would like to take more time to shoot long-term personal projects.
What’s been your proudest moment as a photographer so far?
The first time I was able to pay my bills. It was the beginning of a series of proud moments, but I try to never think about my achievements and always go forward and onto the next.
What’s the most challenging part of being a photographer?
Trusting the process when things don’t go as planned. Sometimes the best work comes from accidents, but it’s hard to remember that at the moment. I also think the main challenge is to try and reinvent myself, my practice, and approach projects with a fresh eye.
What’s a photo you took that completely surprised you?
“Judith Portrait”—it confirmed for me the importance of going beyond a simple portrait and exploring different perspectives to create something different. (see below)
What does photographic happiness look like to you?
Any type of feedback—good or bad—from viewers brings me photographic happiness. How people react to images is one of the most interesting parts of the process.
Where do you see your work heading in the next few years? Are there themes, techniques, or new directions you’re particularly excited to explore?
I would like to explore a more collaborative way of working on different projects. We never do things alone, and I am eager to bring in new creative people in future projects. And hopefully do enough great projects to have exciting answers for your future interviews.
