My Photographic Adventure

We are in the 70s.

Young Parisian photographer, I am sitting near the Pantheon in an artist's studio bathed in light. Under these canopies, Alphonse Poitevin invented in 1851 the coal process and the bichromated gum initiating the current of pictorialist photography and lithography paving the way for printing.

I spend my days imagining new techniques to make images (unalterable photography on cotton for example) and to revisit the old processes.

Interested in my research, the National Library asks me to come to a show in its gardens on the Rue de Richelieu. It keeps a large fund of negatives on paper (calotypes) of which we do not know any positive images.

I remember that day perfectly.

It was a Thursday in May 1979 and it was about 10 am when the curator of prints and photography presented me with a calotype of Henri Le Secq saying "It is a little damaged and will be perfect for this show ". I stayed motionless, petrified, feeling a bubbling in my veins. The tumult subsided giving way to an immense calm. I was going to hold the work of one of the greatest photographers, one of the five of the Heliographic Mission of 1851.

I was like an interpreter who was going to put in the hands an original score of a work of Chopin by saying to him" it is a little erased, crumpled by place but show us how he could have interpreted it ". Taking up my mind, I executed the work in two copies on albumen paper turned to gold.

A few months later, the National Library entrusted me with a much larger order.

It was a question of making the prints, always with historical methods, of the first report made in Lyon and in the Dauphiné between 1855 and 1860. This set gave rise to a first exhibition in the gallery of the rue de Louvois. Another one followed up in Lyon this time at the Institut Lumière.

That's when my name appeared in the History of Photography and I became a Laureate of the National Foundation of Photography.

Since that day, I observe every morning the movement of light and the colored shadows, they are the ones which control my work.

The photographs I present are signed prints in limited numbers.
I make them on different media without exceeding 30 copies in all formats. They have a certificate of authenticity and artwork masterpiece.