The Americans

When I finished my studies, I said to myself that I wanted to make photography books and that I wanted to work with Robert Delpire [the historic publisher of Robert Frank, who died in 2017].

So, I sent an unsolicited application every month for a year.

He finally got me.

I became his assistant.

 The first week, I found myself with Sarah Moon, Henri Cartier-Bresson and William Klein on the phone.

I was a little breathless! 

I saw from my window an old gentleman crossing the yard with long white hair and a packet of cakes that he held by a bolduc thread.

His smile was that of a young man. 

What I have left from this period is that you have to put yourself at the service of the work of photographers.

Robert Delpire said that his profession was that of an image smuggler.

I went from Joan Fontcuberta to Stanley Greene.

In social photography, I greatly admired the work of Jean-Louis Courtinat.

The publishing of fine books was going through a deep crisis.

I had to broaden the scope of my research to find salaried work.

for me it was a playground, a huge field of possibilities.

I could write about whatever I wanted, take the time to read an image and find out why that image grips us.

 Eyes empty

 There is no training to be a gallery owner

There are as many ways of working as there are individuals, obviously with a commercial vocation since it involves representing photographers to private buyers as well as public funds.

 Photography is not just my job, it's my daily life.

By necessity, most of my friends are photographers, my companion [Gilles Roudière] is a photographer.

I admired his work long before I met him! 

The essential question for a photographer is why do I want to make a book?

Wanting to make a book at all costs is not a good thing.

A failed exhibition is forgotten, a bad book stays. 

Monica

All his life, he photographed women close to him, his wife, his grandmother and then his mother.

He sublimated them as beings and not as objects.

In his early photos, everything that was in his later work was already there.

August Song,

We've been working together for eight years.

When we were doing the book, we called each other several times a day.

I am happy with the result, because it goes exactly where it was supposed to go.

The book is closest to Martin, his work and his personality.

These are people who work on the margins and in the margins, with a strong personal and aesthetic ethic.

There is no competition between them, which is rare.

Photographer is a very solitary and very hard job, even the best known do not necessarily earn a good living. 

a bit [her] family

I worked with Michael Ackerman when I started at Delpire, Lorenzo Castore and Damien Daufresne came to show their work there, Clara Chichin was my intern.

At Delpire

the publications were almost exclusively male, it was another era of photography.

It took me seven years to make a photopoche on Julia Margaret Cameron.

Then there was Marie Robert's exhibition

It was the historians of photography who changed the look!

A lot of them have been totally legitimate in their country and in their time.

I have the chance to work with Pia Elizondo who works between France and Mexico.

It would be a question of making a history of photography in Mexico through women.

Photography is a way of seeing the world through someone else's eyes, not just because it takes you to places you haven't been, but because it offers you ways of seeing the world that aren't necessarily yours.

For me, photography, poetry and literature are deeply linked.

Is the world of photography particularly sexist?

Marie Gomis-Trezise, ​​a life at the forefront

Christine Spengler: "Being a woman has often allowed me to go unnoticed"

August Song

Monica

Julia Margaret Cameron