Raymond Depardon

 

 

 

 

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Raymond Depardon, born in France in 1942, began taking photographs on his family farm in Garet at the age of 12. Apprenticed to a photographer-optician in Villefranche-sur-Saône, he left for Paris in 1958.

He joined the Dalmas agency in Paris in 1960 as a reporter, and in 1966 he co-founded the Gamma agency, reporting from all over the world. From 1974 to 1977, as a photographer and film-maker, he covered the kidnap of a French ethnologist, François Claustre, in northern Chad. Alongside his photographic career, he began to make documentary films: 1974, Une Partie de Campagne and San Clemente.

In 1978 Depardon joined Magnum and continued his reportage work until the publication of Notes in 1979 and Correspondance New Yorkaise in 1981. In that same year, Reporters came out and stayed on the programme of a cinema in the Latin Quarter for seven months. In 1984 he took part in the DATAR project on the French countryside.

While still pursuing his film-making career, he received the Grand Prix National de la Photographie in 1991, but his films also won recognition: in 1995 his film Délits Flagrants, on the French justice system, received a César Award for best documentary, and in 1998 he undertook the first in a series of three films devoted to the French rural world. The Maison Européenne de la Photographie in Paris mounted an important exhibition of his work in 2000. The sequel to his work on French justice was shown as part of the official selection at the Cannes Film Festival in 2004.

As part of an initiative by the Fondation Cartier for contemporary art, Depardon made an installation of films on twelve large cities, shown in Paris, Tokyo and Berlin between 2004 and 2007. In 2006 he was invited to be artistic director of the Rencontres Internationales d’Arles. He is working on a photographic project on French territory which is due to be completed in 2010. He has made eighteen feature-length films and published forty-seven books.

A moment alone, Julien Legrand

Julien Legrand is a photographer. Born in 1979 in the North of France, he graduated in webdesign and graphic design. He is the founder of the international collective VIVO and member of the French collective FRAGMENT. In 2012, he has the opportunity to present his work at the Miami Street Photography Festival and in 2016 he is among the finalists of the International Street Photography Awards in San Francisco.

Julien Legrand’s interest in street photography comes from his passion for skateboarding which gave him the opportunity to move freely through the streets of his city, linger and become a privileged observer of the many strange or amazing events taking place there. Skateboarding is also a pretext for appropriating the urban landscape for the skateboarders own purposes. The skateboards themselves, with their decorations, helped to inspire Julien Legrand’s taste for graphic compositions of street art. A violent fall, however, forced him to put a brake on this activity, he now pursues his urban exploration through photography.

Julien Legrand is never without his camera. “Photography is an obsession for me, it accompanies me every day like a faithful old friend, it is a kind of therapy that allows me to put aside my anxiety.” His everyday and candid photos mainly feature passers-by. Inspired by photographers such as Gueorgui Pinkhassov, Harry Gruyaert, Alex Webb, Ernst Haas or Garry Winogrand, Julien Legrand explores the boundary between urbanization and nature and questions the relationship of the individual to his environment.

Sonia Chabas

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La Havane , Jean-Pierre Favreau

Jean Pierre Favreau was born in 1940 and has grown in La Rochelle. He lives in Paris since 1962.

From 1970 to 1980, he travelled around the world : United States, South America and South East of Asia.

After 1980, the traveller gave the way to the photographer, as he choose to focus his attention on people in the urban environment. Quite a few years later, part of his work was integrated in a book named Incertaines cités (Uncertain cities) , published by Filigranes in 1997.

In 1982, he was given a grant by the French Ministry of Culture to do a photographic work on New York.

From 1985 to 1991, he stayed regularly in Cap Vert. In 1990, his photos were exhibited in the building of the french newspaper Le Monde in Paris then in the Contrejour gallery in Paris too which published his book Blues Outremer (Overseas Blues) in 1991 . The same year the photos of Cap Vert were shown at the Sevilla World Fair.

As a regular contributor to Le Monde, he worked on several special editions, among them one about France which became the subject of an exhibition held in 1992.

From 2001 to 2009, he continued his work on the subject of man in Japenese cities. He started a work on China in 2005, until 2012.

2013, PASSAGERS, first monograph, was published at Five Continents Éditions and his work was shown in Paris at 6 Mandel Gallery.

Émile Savitry

The Académie de la Grande Chaumière, cafés like Le Dôme, La Rotonde, and La Coupole, artists’ studios where nude models used to pose, Boulevard Edgar Quinet and jazz clubs: this was the heart of Montparnasse where Émile Savory began his painting career, started as photographer, and frequented his sculptors, painters, poets and musicians friends. It was there that this talented jack-of-all-trades who “had many strings to his bow ” lived his entire life.

His work revived “the hot hours of Montparnasse”, this artistic, friendly hotspot rooted in the smoky atmosphere of the cafés of the Vavin crossroads. There, one could see Alberto Giacometti, Victor Brauner and Antoine Prinner who Savitry photographed in the intimacy of their studios; Samuel Granowski, captured at the bar of La Rotonde; Pablo Neruda, returning from Spain after the French victory, here he was photographed at La Coupole with Paul Grimault and some Latin-American friends, mourning the Spanish Republic which he had always supported.

It was after his return from the Pacific Islands (where he had fled, frightened from a success too quickly acquired during his first painting exhibition at Galerie Zborowski in 1929) that he met Django Reinhardt at the port of Toulon. He offered room and board to the still unknown gypsy guitarist and introduced him to the music of Duke Ellington and Louis Armstrong. The Reinhardt family soon joined Savitry in Paris and took refuge from time to time in the photographer’s beautiful apartment on Boulevard Edgar Quinet, made evident in a few touching photographs.

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Pierre de Vallombreuse

This project puts forth the relationship that 11 indigenous minorities share with their environment and reveals how this relationship is affected by the intrusion of the modern world. Their situation brings us back to ours. What is our relationship with nature? Is the link not broken between the planet and our western societies? Create awareness amongst the public, raise questions about our relationship with nature as well as our responsibility with regards to the changes that are being brought about by our abuse of nature.

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Edouard Boubat

Boubat was born in Montmartre, Paris. He studied typography and graphic arts at the École Estienne and worked for a printing company before becoming a photographer. In 1943 he was subjected to service du travail obligatoire, forced labour of French people in Nazi Germany, and witnessed the horrors of World War II. He took his first photograph after the war in 1946 and was awarded the Kodak Prize the following year. He travelled the world for the French magazine Réalités, where his colleague was Jean-Philippe Charbonnier, and later worked as a freelance photographer. French poet Jacques Prévert called him a “peace correspondent” as he was humanist, apolitical and photographed uplifting subjects.

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Lise-Anne Giguere Marsal


I started in this business as a hair and makeup artist 20 years ago. It’s a world I love and understand, even though it is sometimes crazy and superficial.

I started photography late in my career, simply with my children, their cousins and friends in my home state of Massachusetts and on vacation in Maine. I love photographing children and adolescents-their expressions, their offhand style, their innocence and spontaneity.

As an American, who has been living in France for the last two decades, I feel I bring a certain “Made in the USA” authenticity and naturalness to my photos.

If I can achieve a blend of European sophistication and American realism in them, I’m happy.

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Lise Sarfati

Born in Oran, French Algeria, Sarfati grew up in Nice, France, graduating in Russian from the Sorbonne in 1979 with a thesis on Russian photography. In 1986, she became the official photographer for the Académie des Beaux Arts. From 1989 to 1998, she lived in Russia, photographing decaying industrial sites and abandoned young people[clarification needed] in Moscow, Norilsk and Vorkuta. Her first book, Acta Est, presents 43 of her Russian photographs and explains her imaginative appreciation of deterioration, change and beauty.

In 2003, she photographed solitary young adults in the United States as she travelled through Texas, Georgia, North Carolina, Louisiana, Oregon, and California. They all appear to lack enthusiasm for action. The works were first presented as The New Life at New York’s Yossi Milo Gallery in 2005 and were published as The New Life/La Vie Nouvelle.

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Sophie-Anne Herin


Sophie-Anne Herin begins her artistic career in Bologna, where she graduates at Dams.

She works as an actress in various theater companies, participating also in some theater productions with the Navile Theatre.

In 2006 she moves to France in Paris : here she continues her artistic training by studying Barbara Dauville’s Drama Therapy and she pursues her research on the body at Peter Goos Center of Dance.

In 2008, by meeting the artist Marino Catalano, she approaches photography: a study that she will deepen by attending the Master of Photography at Turin’s European Institute of Design, choosing in this way to side with the viewer, to stay with those out from the scene, those watching at, those waiting for what happens or “falls

Pauline Araujo

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Jacques-Henri Lartigue








 

Jacques Henri Lartigue was unknown as a photographer until 1963, when, at 69 years old, his work was shown for the first time in a solo exhibition at the Museum of Modern Art, New York. That same year, a picture spread published in Life magazine in an issue on John Fitzgerald Kennedy’s death also introduced Lartigue’s work to a wide public. Much to his surprise, he rapidly became one of the twentieth century’s most famous photographers.

Jacques Lartigue was introduced to photography as early as the year 1900 by his father, Henri Lartigue, who gave him his first camera in 1902, when Jacques was eight years old. From then on, Jacques recorded incessantly the world of his childhood, from automobile outings and family holidays to inventions by his older brother Maurice (nicknamed Zissou). Born into a prosperous family, the two brothers were fascinated by cars, aviation and sports currently in vogue; Jacques used his camera to document them all. As he grew up, he continued to frequent sporting events, participating in and recording such elite leisure activities as skiing, skating, tennis or golf.

But young Jacques, acutely aware of the evanescence of life, worried that photographs were not enough to resist the passing of time. How could images taken in just a few seconds convey and retain all the beauty and wonder around him? In parallel to his photography, he therefore began keeping a diary, and continued to do so throughout his life.

He also took up drawing and painting in 1915. After briefly attending the Julian Academy in Paris, he became a professional painter, exhibiting his work from 1922 on in Paris and the south of France. In 1919, Jacques married Madeleine Messager, the daughter of composer André Messager; their son Dany was born in 1921. Jacques and Madeleine divorced in 1931.

Jacques circulated in high society until the early 1930s, when the decline of the Lartigue fortune forced him to look for other sources of income. But he refused to give up his freedom by taking on a steady job, and lived meagerly off his painting throughout the 1930s and 1940s. In the early 1950s, while pursuing his painting career, he also began to receive some recognition as a photographer.

In 1962, with Florette, his third wife, he sailed by cargo ship to Los Angeles. During their travels, they stopped in New York, where they met with Charles Rado, founder of the photo agency Rapho. After seeing Lartigue’s photographs, Rado introduced him to John Szarkowski, the newly appointed director of the photography department at the Museum of Modern Art. Szarkowski was so impressed that the following year, he organized the first-ever exhibition of Lartigue’s work.

A retrospective of Lartigue’s photographs was held in Paris’ decorative arts museum, the Musée des Arts Décoratifs, in 1975—the year after the French president, Valéry Giscard d’Estaing, asked him to take his official portrait. In 1979, Lartigue signed an act donating his entire photographic output to the French government, the first living French photographer to do so; and mandated the Association des Amis de Jacques Henri Lartigue to conserve and promote his work. In 1980, his exhibition “Bonjour Monsieur Lartigue” was shown at the Grand Palais in Paris. He continued taking photographs, painting and writing until his death in Nice on September 12, 1986, at the age of 92, and left behind more than 100,000 photographs, 7,000 diary pages and 1,500 paintings.

Francis Giacobetti

Thirty years ago, a cult book published by Phaidon Press Limited created a stir in the world of photography. Techniques of the World’s Great Photographers included Francis Giacobetti in the very closed circle of the world’s forty greatest photographers since the beginning of photography. Those whose style is instantly recognizable.
Daguerre, Henry Fox Talbot, Nadar, Roger Fenton, Lewis Carroll, Eadweard Muybridge, Alfred Stieglitz, Atget, Baron de Meyer, Edward Steichen, August Sander, Edward Weston, Paul Strand, Weegee, Man Ray, Kertész, Blumenfeld, Cartier-Bresson, Brassaï, Bill Brandt, Helmut Newton, Richard Avedon, Robert Frank, Irving Penn, Joel Meyerovitz, Francis Giacobetti. In principle, all these men have nothing in common, except that they are inventors of images, and that they all have the same occupation: “freezing life for an instant to enclose it in an image.” And what a beautiful way of living it is to watch women, men, and little children moving inside a small rectangle. Formerly, there were two Pirelli calendars, as well as the visual bible of great photographers, and several hundred award-winning exhibitions. In 1992, Francis Giacobetti offered photography a first-class introduction into the Grand Palais, for the Salon des Artistes Français, created by Colbert in 1663 according to the wish of King Louis XIV. He shared the podium with Camille Claudel for sculpture, Edouard Detaille for painting, Dunoyer de Segonzac for engraving, and Roland Schweitzer for architecture. In 1993, he was chosen by the building department of the Grand Louvre, along with artists César, Buren, and Jean-Pierre Reynaud, to introduce contemporary art in the museum of museums. Twenty-four of his pictures are still hanging in the former office of the Ministry of Finance, in the Richelieu wing of the Louvre.

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Lucie Bremeault

After spending her childhood in Brittany, always a camera in her hands, Lucie arrives in Paris and quickly dedicate herself to professional photography. Altough she began by photographing Paris and its monuments, she quickly discovers the universe of studio. Worshiper of perfection and flawless images, she decides to devote herself to the picture of beauty.

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Solitudes et autres étrangetés, Eric Bénier-Bürckel

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Born in 1971 in Paris, Eric Bénier–Bürckel is professor of philosophy and writer.
He began his photographic work in 2013.
His research, on the bottom as on the form, tends to put the representation in question or even create discomfort in representation. It is turned primarily towards experimentation.

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Thierry Bansront

 

French photographer, since january 2014, living in Uzes in the south of France.

I am primarily a portrait painter, lover of faces and emotions that can restore a look, an expression of body movement.
I have a preference for rendering homage to the painting of the neoclassical period. the set of lights and colors that highlight the natural beauty of the models.
A style that tries to get away from the dictates of modern representation of women to return to ue some form of grace and gentleness.

I also love fashion photography allows me to working in a more modern way

Xavier Rey

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Aurore Valade

Aurore Valade is a french photographer born in 1981. She creates images that play with the iconic register of scenography. In these elaborate stagings, we are often confronted with clichés, meaningful reflections of a social, economic or cultural situation in contemporary life.

 

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Christophe Huet

French retoucher Christophe Huet is a true photoshop Master! His work is fascinating. He is the one who creates the famous advertising for Playstation, but also some for Nike, Motorola, Surfrider Foundation….

Elene Usdin

 

“I was terrified of my dolls when I was little. I used to think they came alive at night, that they’d open their eyes and come at me. I used to have nightmares,” says French photographer Elene Usdin of the time she and her family lived in Quebec.

“I was four and we were living in a house in Canada; my father is a doctor, and whenever he worked late and my mother found herself alone in this big house with the three of us, she’d start to worry about prowlers and vampires and other fantasy creatures that just aren’t real.

“That’s probably why I had so many nightmares about my toys – I think I felt all her fears. But it’s also how I learned to create my stories.”

Featuring her naked self in her carefully staged shots, Usdin takes the notion of “woman as object” and transforms it into a farcical representation.

Many of her self-portraits can perhaps best be described as the ‘mockification of objectification’, a piss-take of the tiresome consumerisation of the female body.

“I’m trying to express a different representation of the female form,” she says. “The stereotypes are very strong, and they’re always the same, so I try to present them in a funny way – as something surreal. It’s not meant to be serious at all.”

A graduate of École Nationale Supérieure des Arts Décoratifs, Usdin painted cinema sets and worked as an illustrator in Paris before discovering image-making in 2003.

Her boyfriend at the time was a photographer; one day she picked up his camera and started taking pictures. To her, it was merely an amusement at first – something to pass the time – but she soon realised that she could create stories using a camera, just as she did using illustration and paint.

“Then I really became passionate about photography,” she says. “It gave me a new perspective on making stories, but I felt I had so much to learn. I can’t really explain why, but I created a sort of personal universe, an ‘autofiction’, using a new medium.”

When Usdin first started taking self-portraits more than a decade ago, she lacked confidence in her work, and in herself, and often questioned her ability to convey what she wanted to express. So she placed herself at the centre of each frame, experimenting with lighting, composition and setting.

“I was trying a lot of things by myself because I didn’t feel certain enough about what I was creating to ask anyone for help,” she says. “I was too shy and I didn’t trust my own work, so I used a tripod and a shutter button with a long wire to take the photos. In fact, if you look carefully at my self-portrait with the lampshade, you can see the wire.”

Usdin considers herself more “plastician” than photographer, because creativity is really just a game – “a very passionate game”. She describes the composition of her images as a dance, where all things convene. “They are a choreography of the body and the objects that surround it – a mattress, a chair, a window. Everything is linked, and there are no empty spaces.”

She often craves time alone, she says, and when she does she’ll jump on the first train out of Paris. “One weekend I boarded a train to Marseille and ended up staying in Hotel Peron near the sea. It’s a beautiful, strange place, full of nostalgia. That’s where I took the picture with the phone. In it, I hide my face and become a sightless figure, with no visible expression, a slack body, loose hand. It was my way of expressing my feelings about my boyfriend at the time – waiting for a phone call that never came.”

In another image she wears a strap-on penis and play-acts as a man. “It’s a playful photo. I pretend to be a man. He’s a sweet, tender man, with a pink wool penis. A gender mix. In a bedroom, an act of seduction – an invitation to a sex game – but in a kitsch, sweet way. It’s also an interpretation of what people believe to be true of women and men. Women are often thought of as tender and lovely, and men powerful and rude. It’s a schematic feeling, of course, but in the representation of women and men in advertising, for example, it’s exactly like that, even today. That image makes a joke of it.”

Usdin won the Prix Picto for young fashion photographers in 2006 and her self-portraits have exhibited at Arles, as well as Farmani Gallery in Brooklyn, Robert Berman Gallery in Santa Monica and elsewhere. Today, her work is a fusion of her two passions – photography and painting. Femmes d’intérieur, which is currently on show at Galerie Esther Woerdehoff in Paris, is a series of painted photos that questions the representation of women in classical art by focusing on the ‘codes’ used to define her status – her attire, how her hair is styled, the expression on her face. “The idea of painting ‘in the style of’ – copying the classics – is a way of making each photograph unique. It’s an additional way of personifying each of these women, of giving them back their difference and originality,” she writes on her website.

“When I’m travelling, I always have my camera with me so I can take self-portraits in hotel rooms as memories – to remember that I was there. Some of the self-portraits in the hotels are from those travels. After all, we are the main actors in our lives,” says Usdin, “everything else is merely composed around us.”

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