"What I love about contre-jour is that it creates highlights and shadows and nothing in between," says Kim. "What that does is strip away all the details from the pictures to create these dream landscapes where you no longer recognise people." He describes these scenes as a kind of "middle world", a meditative space, removed from daily life, where anything is possible.
Delving into his archive, he found a wealth of pictures shot with his camera pointing directly at the light source, some up to 15 years old. Initially, he'd been drawn to the style for pragmatic reasons. "A photo editor at a major news outlet sees thousands of pictures a day. The first time they interact with that image it's the size of a thumbnail – contre-jour images stand out from the crowd." As the technique is so striking, Kim finds it works better for standalone images than as part of a photo essay, otherwise it can overpower the other shots. Kim found around 150 images in his archive, which he edited down to 35, before going out to shoot some more.
"The majority of photographers go through a process of conceiving something, fleshing it out and then deciding how they are going to shoot it – this was much more organic," he explains. Most of the pictures have been shot while on assignment, though not necessarily for the assignment. The swimming pool shot, for example, was taken on an afternoon walk after covering a mountain bike race. Several others are from AfrikaBurn – South Africa's Burning Man festival, which happens annually in Tankwa Karoo National Park.