Photos have always fascinated me, even as a child. My high school days focused on graphics and arts. I acquired a very simple analogue SLR camera with a standard lens. It allowed for exploring and expanding my visual horizons.


In high school, a photographer/teacher and a favourite art history teacher supported my interests and work when I started working part-time as a journalist for a local newspaper. That provided opportunities to discover narrative, documentary, and soon thereafter portrait photography.


Most photos have been described as being at the intersection of fine art and narrative documentary photography, reflecting a high level of awareness, capturing people and scenes and on occasion some magical moments, in between assignments.


Photos can be seen in publications, galleries, exhibitions, and homes around the world. In addition to his photographic work, Ludo is a mentor at MoMA's course "Seeing Through Photographs". 


Observers wrote:
“Ludo Segers’ photography reaches out to that which lies deep inside us.  It can make you hear silence, feel the spirit of places and their alone-ness, especially in the béguinages.  The spaces and places in his photos all possess an internal life.  They uncover the footprints of the past and challenge us to reclaim the essence of our existence,” observed Yolita René, an independent curator of the exhibition 'Paris-Vilnius, a spectacular silence' (about the Covid lockdown in 2020)


Urbanist, Laird Ryan, teaching and supervising research at the University College of Estate Management, Reading, draws comparison between Ludo's photos and the form and structure of J. S. Bach's compositions:  "They both apply an exquisite mix of understated passion and intuitive understanding to themes of apparent contrast and complexity and invite the viewer or listener on a journey to an engaging and harmonious resolution.”


Writer and journalist Justinas Suliokas says: "Ludo has a way of winning over the people he photographs, striking an instant connection and making them open up to his camera. He likes his models and they like him – a rapport that’s there in the image and cannot be faked." 


Former Belgian Ambassador to the USA, Johan Verbeke,  said, "Ludo Segers captures the world around him in his very own way, whether it is inside the White House or out in the plains of the Far West.  His portraits, landscapes and photos always bring a new perspective and suggest new narratives."  


Stylist Véronique Lejeune, wonders, "Is Ludo Segers a photographer or philosopher?  Probably both.   Each photo has a subtle balance beyond what is accurate.  Somehow, he manages to slip some intimate element of time into them.  Gaétan Picon described it as, "L’admirable tremblement du temps..."
              
L'amour pour la photographie remonte à mon adolescence. Très vite, j'ai pris conscience de l’importance de la lumière, ainsi que de la composition.  Mon appareil n’avait, à l’époque, ni réglage, ni luxmètre intégré, mais seulement un objectif standard 50 mm, cela fut un excellent outil d’apprentissage.


Mes études axées sur l’art graphique m’ont offert la chance de rencontrer un brillant professeur d’histoire de l’art qui a renforcé mon intérêt pour la couleur, la forme et la composition. Garder les compétences acquises et les enrichir, tant au niveau des prises de vue que du post-traitement, n’est pas l’œuvre d’un seul jour et fait partie, au contraire, d’un apprentissage à vie.

Par ailleurs, mon intérêt pour le graphisme et l’art n’étant jamais loin, je me promène rarement sans appareil.


Johan Verbeke, Ancien ambassadeur de Belgique aux États-Unis, disait "Ludo Segers capte le monde autour de lui dans sa propre manière, que ce soit à l'intérieur de la Maison Blanche ou dans les plaines du Far West.  Ses portraits, paysages apporte toujours une nouvelle perspective et des suggestions de nouveaux récits."


Véronique Lejeune, Styliste, "Alors ? Ludo Segers est-il photographe ou plutôt philosophe ? Sans doute les deux, dans le subtil balancement de chacune des photos qu’il nous livre…  Tant il parvient à glisser dans son œuvre, l’au-delà de ce qui est précis, quelque chose de l’intimité du temps, ce que Gaétan Picon nommait, « L’admirable tremblement du temps».