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.


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.


Solitudes et autres étrangetés, Eric Bénier-Bürckel



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.


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




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.



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.”


Solitudes et autres étrangetés, Eric Bénier–Bürckel


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.


Serge Vincenti



David Bellemere


David Bellemere was born and raised in Paris. He discovered photography during his high school years, which led him to study visual arts after his Baccalaureate. While in college, David caught the eye of various French magazines that commissioned him in his early 20s. After graduation David decided to combine his 2 passions, photography and Asia. Over the next 2 years he traveled throughout Asia regarding his time there as the most influential in his photographic style to this day. David is recognized for his unique light, colors, and composition, always celebrating beauty. The adjectives most often used to describe his pictures are sensual, delicate, and feminine. David currently contributes to the following magazines: Marie Claire Italy, Vogue Paris, Vogue US, Vogue China, Nippon Vogue, Vogue Spain, Elle US, GQ UK, Playboy, LUI, Porter Magazine, MUSE, Teats and Harpers Bazaar UK.
His commercial clients include: Hermes, Lanvin, Chanel, Maje, Eres, Charles Jourdan, Zadig & Voltaire, Free People, La Perla, Net-A-Porter, Mikimoto, Lord and Taylor, Marks and Spencer, Guerlain, GUESS.


Pierre Jamet


Pierre Jamet is a French photographer and singer, born 24 May 1910 in Saint-Quentin (Aisne) and died on August 17, 2000 in Belle-Ile-en-Mer (Morbihan). He is a representative of humanist photography, and was a member of the vocal quartet Les Quatre Barbus.

Ebb and Flow, Eric Bénier-Bürckel


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.


Olivier Valsecchi



Olivier Valsecchi is a French photographer, born in 1979. He studied photography at ETPA Photography School in Toulouse, France. As a teenager, he used to produce music. His interest in photography began when he started taking photos in order to illustrate his record sleeves. Before his decision to enroll at ETPA Photography school and hone his technique, Valsecchi did only self-portraits for ten years. His working process is based entirely on his personal intuition, from planning to capturing the image. His works center around the themes of death, birth, rebirth and maternity.




Sabine Weiss



Bruno Dayan




Anthony Mirial

2012 - Photographie souterraine - tirage pigmentaire sur dibond - inédit



Le Petit Olivier, Vincent Dixon

HyperFocal: 0

Street photography was my first love and it is something I’ve always done. In my early twenties, I moved from my childhood home in Kilkenny, Ireland to Paris, France. I was a post grad science student in Paris, devouring the humanistic work of Cartier Bresson, Eugene Smith & Andre Kertesz. Through a series of serendipitous events, my unearthed passion for photography evolved into a career as a commercial photographer.

All of my commercial work is informed by my attraction to street photography, in that I’ve always tried to make photos that had the spontaneity of a reportage photo despite their construction. It is not always easy but the instincts built up by constantly shooting for myself help.

In 2011, I took a sabbatical from commercial photography and went on a year-long journey around the world with my wife and four children. It was a priceless experience to share authentically new experiences with my family, as well a time to submerge myself in creating photo-essays of our travels; I was free from the confines of a working schedule.

By the summer of 2012, with my year abroad coming to an end, I was excited to get back to work. My travel journeys initiated the debut of a collection of images and stories titled, “Wanderings.” The lines between personal and commercial work are blurred as I commit with each photograph to tell the story.

Clownville, Eolo Perfido



Eolo Perfido is a 44 years old, french born, advertising and portrait photographer based in Rome, Italy
He run one of the biggest photo studio in Rome and in the last decades he collaborated with several international advertising and comunication agencies such as JWT, Saatchi & Saatchi, Leo Burnett, Young & Rubicam, BBDO, United 1861, Grey and Blossom Communication.
Eolo Perfido photography has been featured in magazines such as NY Times, Communication Arts, Panorama First, Vision, Vogue Russia, GQ Russia, Comunication Arts, L’Espresso, and Computer Arts and he worked for several international clients like Pepsi Cola, Samsung, Kraft, Gatorade, Sky Television, Novartis and Opel.

In the beginning his career he has been honored to assist on the field photographers like Steve McCurry, Elliott Erwitt, Eugene Richards and James Nachtwey in several of their shootings in Europe, Africa, Asia and South America.

In 2011, the italian magazine L’Espresso has chosen along with other 9 young Italians creatives who have been asked to tell through a picture the 150th anniversary of the Unification of Italy.

Eolo also follows a personal artistic journey that leads him to exhibit in numerous private galleries. Among his most successful series is definitely the photographic series Clownville, recently exhibited in a solo show at Galleria Janet Coast of Recife in Brazil during the International Circus Festival.

His creative path has allowed him to win several major awards in the field of creative photography.

In 2009 he was awarded the first prize of the National Association of Italian Professional Photographers Tau Visual for the creative quality of its images.

In 2010 he was awarded the “Best International Photographer” during the exhibition “Photo Vernissage” which was held at the Manege Museum in St. Petersburg, which saw the participation of hundreds of photographers from around the world.

In 2016 he created Storm Studio a Digital Artists collective specialized in Creative Retouching, Digital Imaging, Advertising Still Visuals, Post Production and 3D CGI.

Chinatown, Franck Bohbot


Located in southern Manhattan, Chinatown has evolved over time, expanding at a rapid pace due to its growing population, by nibbling on the borders it shares with the Lower East Side and devouring Little Italy. The Chinatown in Flushing, Queens, is currently the most populated. Still today, a large part of Chinatown operates with a parallel economy. In the 90s, the Chinese community began to invest in other neighbourhoods in the Lower East Side, which Jewish immigrants from Eastern Europe had populated fifty years earlier. Currently, the Lower East Side is predominantly a Puerto Rican and Dominican community, although the Chinese have definitely made their mark in recent decades. In this series, Franck Bohbot took an off-beat approach to this bustling “Chinatown” cliché.

These shots embrace the absence of typical daytime noise, deliveries, lively streets, and tourist visits. Silence reigns.

Half-way between poetry and science fiction-like movie sets, through this nocturnal series with New York City as the sole backdrop, he invites us to discover an empty, motionless neighbourhood devoid of its inhabitants. Deserted streets, and the rare, almost UFO-like passerby dropped on quasi-unreal urban sites, resemble fiction more than typical photographic reporting. Marrying colorimeter and urban lighting, combining technique with photographic patience, and wanting to bring life to nighttime characters or basic storefronts were all challenging. With his camera by his side, some images were shot instinctively while others are more contemplative. The result is an enigmatic voyage that creates a pictorial and fantasy-like universe in the thick of night.