start your photography collection
OFFERT PAR
PHOTOGRAPHY ART FAIR
On le constate tous les jours à travers le développement international de foires
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Caroline Matthews,
The photography market is one of the art market’s most thriving sectors.
Evidence of this impressive progression grows in visibility every day, via the increasing presence of international fairs dedicated to photography (Paris Photo and fotofever); rapidly
developing and highly anticipated public events (Les Rencontres d’Arles); and an escalating number of specialist galleries and dealers both in Paris and internationally.
Photography presents an opportunity for a new group of collectors to try out the practice
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unbounded appeal.
dictate its status in the art world.
From its conception, Art Media Agency has avidly followed the photographic medium: its
have seen both public and professional enthusiasm for the medium go from strength to
strength.
evolution: the invention of new chemical processes, the introduction of colour, large-scale
printing, digitalisation, printing on new mediums, increased mobility, the involvement of
the computer, and mixed media are just some of the many revolutionary changes. Moreo-
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On the occasion of fotofever, we wanted to compile a guide which could shed some lianswers and the inspiration to further explore this contemporary medium.
Pierre Naquin
Directeur de publication d’Art Media Agency
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Pierre Naquin
CEO, Founder and Director of Publication at Art Media Agency
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Laure Fauvel,
a revolutionary invention to possessing the status of an independent art form, serving as a
fotofever est né alors du désir de mettre ce nouveau médium au premier plan du
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fotofever was created from the aspiration to place photography at the fore of the art mar-
édition à Paris, fotofever a poussé plus loin son tour du monthe exhibition space is transposed into a home, permitting a daily enjoyment of art.
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du galeriste, le premier prix du stand
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de photographies sélectionnées par fotofever au sein de la collection de Galila,
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Cécile Schall
créatrice de fotofever
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to uncover the best in contemporary photographic creation, inviting galleries from Tokyo,
Osaka, Shanghai, Beijing, Los Angeles, Lima, Bogota, Berlin, Brussels, Copenhagen, Madrid,
Milan, Rome, and many more.
Every gallery and artist presented at the fair has been authorised by a selection committee,
Year-upon-year fotofever strives to consistently develop initiatives with new audiences
edition, taking a selection of Galila’s photographs, perfectly illustrative of the collecting
fever at the basis of all collections.
world of photography, it aims to provide the essential tools to begin buying and collecting
Cécile Schall
Founder of fotofever
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Endormi
FOTO SUCCESS STORY
La photographie a le vent en
poupe comme en témoigne la
multiplication des expositions
de photographie du MoMA à
New York au Grand Palais à
Paris. D’où vient cet appétit
pour la photographie ?
C
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Photography is in full swing and
experiencing a soaring popularity
evidenced by an increasing number of exhibitions - from MoMA in
New York to Grand Palais in Paris
– dedicated to the medium. Where,
we ask, has this appetite for photography come from?
Some
feared that the digital revolution
would rob photography of the value it had
attained since its invention: fears which
have been well and truly assuaged. Audiences are no longer reticent to delve into the
practice of collecting contemporary art
mer une collection, à la fois pour des
Qui plus est, la tendance des artistes
contemporains les plus en vue à utiliser la photographie comme support
notre société moderne, est donc loin
elle se réinvente et trouve désormais
sa valeur au-delà de sa forme
porains les plus populaires, plus de la
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pas une empreinte de la réalité, mais
start a collection.
A growing trend amongst the world’s most
photography as an alternative medium,
whether they are painters or sculptors by
trade, demonstrates an ever-growing inpular contemporary artists, more than half
use photography.
Until now, photography has prided itself
and the number of editions produced. Now,
though, the digitalisation of prints, as the
means photography is largely becoming
computer-generated images, provoking
more and more artists to explore the medium, encouraged by the ability borrow an
freedom without limits.
We can draw a similar distinction between
rentiate theatre from cinema: the former aptions and presentation; the latter lauded for
the painstaking direction work involved on
the part of the artist, whose talent lies in capturing the best shot after several attempts.
Photography, emblematic of our modern
society, is far from having given up the
ghost. Quite on the contrary, it is constantly
above a material form, in a fundamental
freedom of expression.
Poignantly, photography today is not an
impression of their own, personal, era.
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FOTO HISTORY
tographies en similigravure apparaisGuillaume Petit en France, de Georg
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La photographie n’a pas deux cents ans ! Son invention s’inscrit dans un long processus qui allait en faire l’une des plus
belles inventions du XIXème siècle. Retour sur les étapes phares qui jalonnent l’histoire de la photographie...
Photography is not yet two hundred years old: its invention sparked a
process of discovery which would see it become one of the most proli-
the halftone process appear following technical advances made by Charles-Guillaume
Petit in France, Georg Meisenbach in Ger-
Exit
moments:
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photography.
Foundation of the Société Française de Photography, from technological advancement
to a true art form, and likewise presents photographers as artists in their own right.
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1841
1856
sion on a copper plate makes it possible
1826
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permet de transférer un positif photo-
dots positioned at varying distances apart.
1884
mier livre photo,
,
et souligne son importance en tant
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Photographie mettent en place une
Chalon-sur-Sâone, by the Frenchman Joseph Nicéphore Niépce: he succeeds in capafter a whole day of exposure. The process
transfer of a positive photograph onto a
photosensitive coating, made with a base
of petroleum derivative called Bitumen of
Judea (a type of tar), a substance which lightens when in contact with light.
1839
process, the daguerreotype: a silver emul-
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8
trate with Gallic acid on paper. This enables
images on paper. Reproducible photogra-
1852
volue à la photographie, organisée à
Londres par le Photographic Exchange
Under the reign of Queen Victoria, the
London Photographic Society (founded in
graphie present a photographic exhibition
at the South Kensington Museum (currently
the Victoria and Albert Museum) which had
begun to create a photography collection.
1863
replaces the glass plate.
1904
premier procédé industriel de photo-
commercialiser des travaux phototo photography is organised in London by
the Photographic Exchange Club, founded
photo book, The Pencil of Nature, and underlines its importance as a way to popularise photography.
der of Kodak) develops a subtle, sensitive
1854
P&D Colnaghi, a reputed London gallery, is
phic works, notably those by Julia Margaret
Cameron.
faire valoir la photographie comme
1880
Photography undergoes a new revolution
with the invention, by the Lumière brothers,
tography: autochrome.
1924
Parution en Allemagne du premier ma-
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1936
Life aux États-
rican institution dedicated to photography.
1952
tes puts photojournalism at the fore.
1937
grande exposition rétrospective et
tography to take place in the United States,
is organised by Swann Galleries.
1970
Publication in Germany of the Münchner
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Photography.
la photographie, car avec un appareil
plus petit, les photographes peuvent
The Leica camera is invented in Germany,
representing a pivotal invention in the history of photography. With a smaller machine, photographers have increased freedom
of movement and photography, liberated
exemplaires vendus en une semaine,
Picture Post which sees immediate success:
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medium.
1975
son développement, dans le respect
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1940
Création du premier appareil-photo
Opening of the photography gallery Agathe
Gaillard, a pioneering gallery for the medium in France.
reil à développement instantané, par
versal life accessible through pages inun-
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camera with instantaneous development,
invented by the American Edwin Land.
1949
ce and illustration of France’s artistic heritage, as well as its development, through a
2011
1979
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ce, created and directed by Lucien Vogel.
Vogel plays an essential role in the popu-
the Académie des Beaux-arts with work by
Lucien Clergue and Yann Arthus-Bertrand.
Création à Paris de fotofever, photogra-
1947
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The foundation of Art Basel. Today, the fair
is present not only in Basel, but also in Mia-
two months after its launch.
Beaumont Newhall opens a department entirely dedicated to photography at the heart
of MoMA.
1928
1997
La photographie fait son entrée of-
Picture Post dont le
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Paris welcomes the creation of the Mois de
la Photo festival, an international photography biennial, organised by the Maison
Européenne de la Photographie (MEP).
2006
1938
1925
Création à Paris du Mois de la Photo,
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ment consacrée à la photographie voit
MoMA organises a retrospective exhibition
in New York and it publishes a catalogue
Antinous
1980
essentiellement composée de galeries
Creation of fotofever in Paris. A photography art fair principally dedicated to the promotion of contemporary artists.
2012
Records de ventes de photographies
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comprising mainly galleries from the Unifollowing year.
contemporary photography with auctions
totalling millions of Euros.
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FOTO MARKETS
through constant change and evolution –, even more so with trends on
the photography market. A unique medium, photography brings tophy, fashion photography, photojournalism, to name but a few. Below,
In just ten years the total sales for photographic works has doubled in value. Despite this
those commanded for mediums including painting and sculpture.
porary approaches to the medium. On the whole, however, it is an intrinsically accessible
medium liberated from any deep-seated need for artistic comprehension.
ver, the market is showing an increasing interest in contemporary artists, some of whom
have already become stars in the world of photography. This shift has been triggered by
numerous causes.
A scarcity of pioneering works and evolution in artistic trends goes some way to explaining
the enthusiasm for contemporary artists, many of whom are currently outperforming their
tists, whilst the number of works by deceased artists sold on the market has reduced by
exciting dynamic on the market: institutions and galleries are pursuing emerging artists
tendances du marché de la photographie. Elle est l’unique
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collections.
To provide an indication of the role played by contemporary photography on the art market: of the ten best results ever achieved for photography at auction, nine are attributed to
The prices commanded for a particular group of contemporary artists have risen drastically, to such an extent that contemporary photography now counts amongst its ranks the
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latter, for his part, is the only one of the group to have witnessed sales of such magnitude
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amateurs de photographie, le marché se tourne de plus en plus vers des artistes
Par ailleurs, signe de la place de la photographie contemporaine, sur les dix
Maria Platero,
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The biggest names aside, work by recognised photographers is accessible to a large group
fordability which attracts a number of amateurs, discouraged and excluded from auctions
Trade III
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intitulé Rhein II
collecting.
The new wave of interest which is invigorating the contemporary photography market is,
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contemporary creation, which can no longer be left solely to museums and public institutions whose funds do not allow such investment. A number of new positions are opening
up on the market, encouraging a new breed of collector; an overwhelmingly positive phenomenon for the artistic community, galleries, editors and artists alike, who thrive from
the interest expressed by collectors. A broader spectrum of collectors also does much to
promote a better understanding of contemporary art.
depuis mars 2011
contemporary photography.
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A question of prints and editions
for multiplication and reproduction. Restricting this process guarantees a rarity which, in
turn, makes for a high-functioning contemporary photography market. An increasing sense
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avoids any nasty surprises post-purchase. This method is one of the most relevant tools for
the development of the photography market today, especially for mid-range works.
Whilst the European photography market is still in its infancy, the United States saw the
photos commanded the most success at auction, followed by a surge in popularity for
La question des tirages et des éditions
on clearly limited editions.
La particularité de la photographie tient à la multiplicité potentielle du médium,
en compte tous les formats et non une numérotation par format permet ainsi
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persistently increases with the emergence, and multiplication, of museums, galleries and
specialist institutions dedicated to presenting the medium. Such organisations also show
a vested interested in the conservation of work relevant to the genre: amongst them, the
institutions for the medium internationally.
creasingly young collector and often accessible price-tags demonstrates a promising futuwhilst the prices remain suitably wide to attract new audiences from all sectors.
des musées, galeries et institutions spécialisés, dédiés à la présentation ainsi
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TRUE OR FALSE?
Collectionner la photographie
n’est pas chose courante
de leurs homologues américains ou
à la découverte des photographes de
Collectionner la photographie
c’est diminuer sa visibilité
Collecting photography is not
common practice
European collectors of contemporary art.
They might have more limited means than
their American and Chinese counterparts,
but European collectors are adventurous
and prepared to take risks; discovering and
investing in the artists of the future.
Les collections se font de moins en
Collecting works of photography
reduces their visibility
leur possession, sont heureux de dé-
Collections are increasingly publicised and
shared with collectors. Far from considering
their works as private possessions, they are
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Les artistes préfèrent que les œuvres
soient achetées par des musées
waste no time in their encouragement of
continuous artistic production, acting as
sponsors and creating foundations in a
bid to share their collection with as many
audiences as possible. Some go so far as to
Artists prefer to have their work
bought by museums than by collectors
More often than not, artists prefer the opposite, favouring having their works bought
by collectors who will proceed to lend them
to institutions in an exhibition setting, if the
hidden in storage, much to the discontent
of their maker.
c’est faire de la « déco »
Collectionner la photographie est une
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Collecting photography is akin
to decorating
Collecting art is a risky and emotional
Collectionner l’art contempocontemporaine en particulier, sont
Collecting contemporary art is
priceless
Contemporary art and contemporary photography, in particular, are widely accessible genres and, in turn, lend themselves
perfectly to the assembly of a collection,
times on paper command lower prices than
paint on canvas.
Il faut être spécialiste pour
collectionner la photographie
à la suivante et toute nouvelle
compréhension de la photographie
Une photographie n’est pas une
œuvre d’art originale
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élément clé dans la détermination de
la rareté, du prix et de la valeur de la
numérotés et signés dans la limite de
ports confondus) et réalisés sous le
lement inversement proportionnel aux
It is necessary to be a specialist
to be a collector of photography
ments collector Nadia Candet. An initial
work leads its buyer to the next purchase
which might be a wholly new, unstudied
ever-expanding knowledge of contemporary photography. A sort of symbiosis takes
place insofar as, during the assembly of a
collection, both the collection and buyer
grow in tandem.
A photograph is not an original
work of art
Ever since photography has been reproduced, photographic artists impose limits on
the number of editions which can be produced from one negative. This aspect is a key
element in determining the rarity, price and
value of the photograph. To be considered
as original works of art, works are restricmust be numbered, signed, and produced
under the creator’s control. The number of
editions is normally inversely proportional
to the dimensions of the work.
plus ou moins importantes et nécessirecherche perpétuelle est stimulante
intellectuellement et représente un
engagement fort vis-à-vis des artistes,
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forges a strong engagement with artists,
their works and the epoch they belong
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FOTO PRICE
It is no coincidence that the initial development of the photography
market took place in a gallery setting. Indispensable to the art world,
galleries are also indispensable to the world, and development, of
photography.
Galleries: a springboard for artists
Playing a key role in the discovery of new photographers, galleries are key players in the
presentation of photographic work to the public, performing an important role in the support of both artist and buyer. Certain galleries actively specialise in the medium, notably
sole dedication to photography; photographers whose work was shown there in the early
years include the names of a host of recognised artists, including Saul Leiter, Rudy Burckhardt, Sid Grossman, Duane Michals, and Garry Winogrand.
with the artist, whether of a commercial or intellectual nature. Exchange is the key to this colby; a largely preferable economic method than the uncertain game of auction sales.
From an economic point of view, a great number of artists depend on their gallery for
remuneration based on a percentage of the sales total achieved by their work. The rates
are negotiated by way of a mutual agreement between both parties as established by the
Que le marché de la photographie se soit développé dans
un premier temps en galeries n’est peut-être pas le fruit du
for the sale is returned to the gallerist and the remainder to the artist. Whilst the amount
au même titre au monde de la photographie.
guises, through renting, salaries, transport, insurance, producing works and exhibitions,
participation fees for fairs, communication and press contacts; galleries pay a high price in
their pursuit to represent and support their artists.
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Fall of lights
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Galleries supporting collectors
nergy can provide galleries with a useful tool in steering the collector towards works which
would develop their collection. Guided by their own instincts, collectors have free reign to
market. Much like the bond of trust established between a gallery and its artists, collectors
within their collection. With access to sources of knowledge on the works they present,
galleries are able to provide the deeper understanding necessary to fully understand an
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— est
The inherent function performed by a gallery is to accompany the collector in the discovery
supported, new artists whose representing galleries present an international panorama of
the market trends.
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En somme, les galeries, comme premiers intermédiaires, veillent à la sécurité du
Les galeries au service des collectionneurs
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Galleries moderate the price of
works
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can destabilise the market, galleries
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Les galeries tempèrent les prix des œuvres
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tistic production and increasing
demand.
The generally balanced nature
of their prices makes it possible for them to play a central
role in moderating the price of
works. Determined by the gallery
itself, the price of a work takes into
used, the print and the edition number. From a collector’s point of view,
the pricing method based on a number
of editions which conforms to the ar-
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number of editions, is generally considered
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or - for older works - the state of conservation is an
important factor in determining the market price. Whilst pho-
Galleries perform an essential role as mediators, displaying the diversity of photographic
Elena Kalis,
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Gaëlle de Saint-Pierre for Art Media Agency
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FOTOFISC
La photographie est sans doute le meilleur moyen d’entrer
dans le monde des collectionneurs d’art car elle est un art
avec lequel il est facile de se familiariser. Comme l’un des
un avantage à être collectionné tel qu’en témoigne le régime
d’imposition des collectionneurs de photographies.
Alassio Michele,
contemporary art collecting. It is easy to familiarise oneself with the
medium, promoting an immediate understanding, and is one of the most
accessible mediums of our era. As proved by the rates of tax applied to
collectors of photography, it can prove to be a fertile practice.
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upheld by successive governments, it still remains a major asset of the French tax system
working in favour of art collecting.
art. A photographer’s status has not always been clear in the eyes of the legislator, who
has previously imposed some conditions on the medium to allow its status as an art form:
the author’s signature must appear on the print and works must have been executed by
the author or under their control. All formats and mediums are recognised but, above
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la collection doit avoir une valeur importante par rapport au reste du patrimoine
Le collectionneur particulier peut, par une donation de photographies à une ins-
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advantages applied were it to conform to the limitations imposed. As a reminder, printing
allows for the development of one or more positive images from a negative, facilitating
enlargements or reductions.
of the collector’s property.
Cultural patronage for photography; why not have a go?
By donating a work of photography to a public institution, a foundation or an association
recognised under FRUP (the French Foundation Centre), the private collector transforms
Amor Aeternus
centive assumes that the value of the work of art is proportional with the collectors taxable
Moreover, collectors of photography can contribute to the enrichment of public collec-
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FOTO
COLLECTOR
te un collectionneur à dévoiler une partie de sa collection
sur un thème choisi. Galila
partage avec nous sa collection sur le thème de l’argent.
Quelle a été votre réaction quand
fotofever vous a invitée à exposer
une partie de votre collection sur le
thème de l’argent ?
Compte tenu de mon expérience de
Every year, fotofever invites a
collector to unveil a selection of
works from their collection which
year Galila Barzilaï Hollander, a
collector who has caught the photography bug, shares some of her
collection on the theme of money.
What was your initial reaction when
fotofever invited you to exhibit a
selection of your collection around
the theme of money?
Following my experience of fotofever Brus-
préoccupation, ce à plusieurs niveaux,
origins, as well as those of my late husband,
Philippe Assalit,
Mes origines étaient modestes ainsi
de notre mariage, nous avons travaillé
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imaginer, au fur et à mesure de notre
réussite, je suis devenue de plus en
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we were married, we worked together in
tandem, mainly in the domains of property
and hospitality. Our estate is the fruit of
Contrary to what people might believe, the
more we began to succeed, the more humble and respectful my relationship with mosense of conscience of its relative value and
the constructive and destructive impact
that can be generated by the power wielded
by money.
blems through a playful and creative medium, made possible through works of art
which take money as their focus.
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contemporary art?
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anniversary after his death. For a change of
Quel a été votre premier contact
avec l’art contemporain ?
premier anniversaire de mon défunt
mari et notre anniversaire de mariage
Lors de ce séjour, on faisait la promo-
During my stay in New York, The Armory
Show was being promoted across the city.
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cette grande ouverture et ce virement
Show out of curiosity and because the
concept seemed to me to be symbolic of my
Vous collectionnez de préférence
de
pourquoi ?
widowhood.
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my emotional situation at that time: it was
due compte de la grosse erreur mais
Cette répétition et superposition de
This extreme repetition and the layering
dépendamment du facteur prix, je tire
Combien d’artistes dans votre collection ?
à tort ou à raison, je suis plus fascinée par les rencontres et je privilégie
(hommes/femmes) du monde entier au
Gianni Motti,
Quel est le nom de votre artiste favori ?
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Avez-vous des artistes dont vous
possédez les œuvres en grand
nombre ?
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ver dans la collection privée exposée
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set the ball rolling on my discovery of the
medium and triggered the move towards
contemporary art.
Your collection favours work by
emerging artists, why is this?
discover an artist who has remained untilnow undiscovered.
How many artists do you display in
your collection?
around the world, to the detriment of dedicating myself to the evolution of a limited
number of chosen artists.
Who is your favourite artist in the
collection?
Are there any artists whose work you
own several examples of?
tist, with the exception of artists including
Jonathan Callan, Daniel & Geo Fuchs as well
as Philippe Assalit and Philippe Pétremant
(to be found in fotofever private collection)
more of.
How do you go about buying a
work?
is perhaps a part of the child in me which
leads me to be constantly in the grip of
spontaneity and susceptible to an immework. My decision to buy a work happens
totally independently from any knowledge
of the artist’s name or their CV credentials.
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FOCUS
Philippe Pétremant
photographe né en 1976 à
Philippe Pétremant, Grincheux, 2010-2011,
Comment faites-vous un achat ?
To spot a work, especially in an environment
like a big fair, whilst surrounded by
thousands of examples, is a real challenge
for me and my conscience.
there is a real sense of coherence and a
common thread running through the pieces
chosen.
Are you often hindered by the price
of a work?
arrangements, namely staggered payments
Êtes-vous souvent freinée par le
prix d’une œuvre ?
un échelonnement de paiement avec
sa vision de la photographie.
Vous retrouverez sa série Les
Sept Mercenaires au sein de
la collection privée de Galila
fotofever.
Comment avez-vous rencontré la
photographie ?
les réalisais souvent dans des friches
fectés et les photographiais pour en
in the interest of all parties involved in
the transaction, with something in it for
everyone, particularly when it concerns
emerging artists.
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purchases?
nelle de la photographie ?
bidding on works of photography than on
other media.
series Les Sept Mercenaires at fotofever, featured amongst the private collection of Galila Barzilaï
Hollander.
How did you come into contact with
photography?
this manner of work in industrial wastelands or disused warehouses and would
photograph them to keep a trace of my
creation. At this point, therefore, it was predominantly a tool for archiving my work.
Photographing work does not make a lot of
sense in itself and the real essence of the
images became a little contrived and frusgraphy as a medium in its own right.
photography?
enough to see its story through its contem-
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Malheureusement, je ne peux pas dire
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Vous aimez travailler les sujets de
vos photographies avec d’autres
médiums comme le dessin. Quelle
est votre démarche ?
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Philippe Pétremant, a photographic artist born in Lyon (France) in
interesting.
You like to work the subjects in your
photographs with other mediums,
notably drawing. What is your artistic approach?
a structure, or recipe. The main factor which
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Avez-vous peur que vos familles ou
séries se divisent ?
sédé, leur histoire ne nous appartient
de se les approprier, cela enrichit aussi
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Est-ce qu’il est important pour vous
de connaître ceux qui achètent vos
œuvres ?
Philippe Pétremant, Timide
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de ces agencements et le devenir des
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photographie va révéler de mes inten-
transforment ou déplacent le projet en
La plupart de mes photographies sont
Les
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of direction work. The practice of drawing
is intimately linked with my photographic
des histoires, le collectionneur fait
to pinpoint an arrangement of objects, that
the layout and the function of the objects
are set free and transform into something
Avez-vous une œuvre que vous affectionnez particulièrement ?
Do you worry that your series are separated in the process of collection?
works and construct their own narrative
which gives me much pleasure.
Is it important for you to personally
know the people buying your work?
velength. The approaches taken by artist
and collector share many fundamental similarities: the artist constructs stories, the
collector likewise, by taking samples from
a wider pool of works, but each marks out
the path of their existence through the narlected works.
Is there a work for which you have a
can feel more paternal towards those works
which are less popular.
What does it mean to you when museum institutions buy your work?
own works hung next to work by artists
with whom you have grown up or for whom
you have real admiration. Fundamentally,
tions at the heart of the artistic practice.
P. Pétremant has been represented by Le Ré-
especially attuned to what photography
will reveal of my primary intentions and
intuitions. Over the course of these experistages of work which transform or move
the project into something else totally new.
The majority of my photographs are slow
to achieve, for the series Les Septs Mercenaires
suitable form.
this release is necessary to give others the
means to appropriate them, thus enriching
the works and increasing their emotional
des institutions muséales achètent
vos œuvres ?
-
works to leave the studio has to accept
that they will be bereft of their creation;
their story will no longer belong to us. But
COLLECT FOTO 35
TIPS
Philippe Assalit
Photographe plasticien / Photographer
fotofever et AMA ont collectionné pour vous ces quelques
« tips to collect » qui vous
aideront à initier votre propre
collection de photographies.
intéresser au-delà des grands noms,
comme le sport, la mode, les reporta-
fotofever and AMA collected the
following “tips to collect” to help
you get started with your own
photography collection.
You must love photography and be interested in more than just the big names, to
be interested in all forms of expression and
areas of expression, like sport, fashion, re-
Guy Boyer
fotofever
amateur. [...]
Connaissance des arts / Editorial director
Glenda Cinquegrana
Exposant fotofever 2014 / Exhibitor
of Connaissance des arts
avec une photographie sans avoir eu au
doit permettre de mieux évaluer ses
Commencer une collection par de la
préhension, la photographie permet
Marina Weighl, Part of horse and i,
chase a work of art is, of course, emotion.
You shouldn’t imagine purchasing a particular photograph without having had an
initial attraction. After that, the knowledge
of photography can allow you to evaluate
ce of composition and the arrangement of
colours, the boldness of a subject or even
the choice of format are all elements that
you must know how to evaluate.
Beginning a collection with photography
is good as prices are not as high as with
sculpture and painting. Easy to understand,
photography allows a more precise view, a
-
story by means of building a collection.
Your collection must be the result of your
true tastes, of your personality, of your personal errors, and your own changes. That’s
the most thrilling part of building a collection: expressing ourselves.
Émilie Dujat
Exposant fotofever 2014 / Exhibitor
-
-
et par la suite, votre propre histoire sur
-
de votre personnalité, de vos propres
those around you.
the end we don’t really care about knowing
who the author is; a good photograph will
-
chasing is to know how to look at the aesprint run (preferable to have a small print
36 COLLECT FOTO
First, you have to educate yourself by visiting many exhibitions. During those visits,
your own preferences. Do not let anybody
tell you what’s more fashionable, what’s
would suggest to educate yourself to follow
your inner instinct and to choose what you
where your eye takes you. There is a work
that is waiting for you somewhere; you’ve
Continue on your way, if the work is for you,
you will feel a physical need and a strong
attraction which will make you go back to
the stand, then that is when you buy it, its
an inevitable encounter.
COLLECT FOTO 37
«
«
The photographer reveals themself by way
of their art, collectors
reveal themselves by acAn artwork is solely the
subtle mix of the souls
Express yourself, have fun
with your collection that
you are creating, strive to
push your limits.
is only in this way that
a collection will bring
such delight to the col-
»
range of emotions.
Nue Galerie
Hegoa
Exposant fotofever 2014 / Exhibitor
Pour constituer votre collection de
touche, soit concret comme la nature,
-
Artistocratic
Exposant fotofever
2014 / Exhibitor
rationalité, mais pas
-
To create your photography collection
choose a theme that is important to you, be
it a concrete concept such as nature or the
city or daily objects or rather an abstract
theme such as solitude, sensuality and evasion, you could also choose a colour or a
de la galerie, mais ne
-
world [...].
a mix of impulse and
Les Palissades
rationality, but no hesitation. Choose the artwork you like, check
the reliability of the project, the artist and
the gallery but then do not think too much
L Gallery
Exposant fotofever 2014 / Exhibitor
vous parle, réveille des émotions, et
ravira
38 COLLECT FOTO
à
jamais
son
Jean-François
Camp
Président directeur général de
The photographer reveals
themself by way of their
art, collectors reveal
their art.
»
L Gallery
Nathalie Gallon
tistic director of the prix carmignac
Président directeur
Central DUPON
Il est important
tre son parcours
et savoir ses
suite à la conservation pour préserver
dents gestes simples peuvent éviter
Authenticity, the signature, the edition num-
55 Bellechasse
Exposant fotofever 2014 / Exhibitor
collection
To make a purchase, the work must
speak to you, evoke emotions and
must be a piece
that surprises you
with its evocative
strength.
You must also
imagine
living
with the work on
a daily basis, to
remain proud of
it without the risk
of getting bored
of it.
Le collectionneur se
-
évidence et sa force évocatrice puis il
et comment il
sont ses futurs
look out for the format, the printing techniorder to preserve your precious collection.
These simple tips can prevent catastrophe:
professionals and laboratories. There are
also many on line resources on the subject
their objective and understand their perspective. You must know their story, their
age, where they come from and how they
work, what are their future projects and the
background that accompanies the photograph. Above all you must love it, that will
remain no matter what happens.
Galila Barzilaï-Hollander
Collectionneuse / Collector
one tip, it would be buy what you love, you
must buy according to your instincts.
COLLECT FOTO 39
LEXIFOTO
pourrez retrouver tous ces
termes sur les cartels des
photographies exposées. Ce
mais reprend la plupart des
mentions que vous retrouverez à fotofever.
cibachrome (ou ilfochrome ®)
te méthode consiste à réaliser une
épreuve sur papier à partir de diapo-
resin-coated to increase the ink’s resistance
Over the course of your visit you
will undoubtedly encounter some
of the words presented in this section displayed on the panels next
to the photographs exhibited.
Whilst not an extensive list, this
short glossary should explain the
majority of the most frequently
used terms used at fotofever.
A process of dye destruction which became
the production of an image on paper through a positive-to-positive photographic
colours and allows for long-term conservation of the image.
diasec ®
Procédé inventé par le chimiste suisse
dibond ®
trademark held by the Swiss society Alrane
40 COLLECT FOTO
achieved through the presence of Barium
sulfate.
papier resin-coated (RC)
aluminum panels with a polyethylene core
on which the print is stuck to ensure its rigi-
photographies par collage ou via un
-
photomontage is the assembly of several
photographs in collage form or through
software which allows for graphical
retouches.
rayogramme ou photogramme
-
resin-coated paper
Designed for making prints from colour
negatives, RC Paper is paper constituted of
the Swiss group Schweiter Technologies.
digigraphie ®
-
parties partiellement traversées sont
rayograph / photogram
Using objects placed on sensitive paper,
Créée par Epson, la digigraphie ® est
-
Created by Epson, Digigraphie® is an
authenticity-ensured printing method for
producing photographic images from comartist’s signature.
avec le constructivisme, le photomon-
-
dibond® / sandwich panel
digigraphie ®
A process invented by the Swiss chemist
ves positioning the print under Plexiglas
photomontage
photomontage
A thick paper material that results in a very
Panneau composé de deux faces alu-
consiste à placer le tirage sous une
diasec ®
papier baryté ou cartoline
baryte paper
posites, une division du Groupe suisse
cibachrome (or ilfochrome®)
Action of sticking the main work of art (in
our case, the photograph) to another material, supposedly sturdier: a thicker paper, a
canvas, a board, etc.
light around the object to create the image.
Following exposure to light, the paper is
submerged into a developing bath to create
a negative. The areas covered by the object
having stopped the light remain white; the
parts partially covered are grey, whilst those totally exposed are black.
retirage
-
COLLECT FOTO 41
Fresson print slowly decomposes the colours in the image.
reprint
tirage gélatino-argentique
A print produced from a negative after the
death of the original creator. Reprints are
considered as original works of art if they
are made under the rightholders’ supervision
Le procédé utilise une feuille de papier
platinum / palladium print / platinotype
tinum and/or Palladium instead of silver,
helps to create matte prints with particularly intense contrasts, the tonal range stretching from deep blacks to brownish red.
vintage
shall be disclosed as such.
-
tirage
tenir un ou plusieurs positifs à partir
-
Thomas Rusch,
gamme des gris, est le plus souvent
paper, produced from an original colour
negative.
gelatin silver print
pigmentaires de longue conservation,
Ces tirages sont réalisés par le pho-
This process uses a sheet of paper covered
in a light-sensitive gelatin emulsion, using
et sont numérotés et/ou signés de la
Printing gelatin silver prints is a process
which only reveals the image following development in a chemical bath.
de numéroter leurs tirages, mais ces
tirage inkjet
vintage
Le tirage correspond donc à la fois à
Fine Art prints are produced from a digi-
inkjet print
print
The printing process aims to attain one or
ink which is essential in the creation of a hi-
tirage fresson
-
Analog printing, produced by inversing the
été mis au point par Pierre Fresson
a reduction or be created through contact
between the negative and sensitive paper.
The digital image, for its part, only becomes
a photograph after printing, when it takes
the form of a tangible image on paper.
Printing is therefore both the action of
transferring the image onto a medium and
tirage c-print
long procédé de décomposition des
-
to the colours in the original image.
tirage lambda ou lightjet
lambda print / lightjet print
A print of a particular epoch or period in
history which has been printed around the
same time as the shooting took place; an
interval of a few years is permitted. The
print must have been created by the photographer or under their supervision and
should be signed or numbered by them.
some photographers took a somewhat laidback attitude to numbering their work. Fortunately, experts and gallery owners have
learnt these habits and are able to provide
the best advice.
A photograph printed on traditional silver
platinotypie
fresson print
This term is used to describe the coloured
utilise du palladium ou du platine en
tenir des tirages mat aux contrastes
-
c-print
42 COLLECT FOTO
and operated out of the Fresson workshop
in a Parisian suburb. Resulting in a techni-
COLLECT FOTO 43