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Paris Photography – 2012

Paris Photography: 2012 was my final visit to Paris to see Paris Photo and some of the other photographic events across the city. Although I enjoyed my time in Paris, I was finding the actual dealer-led Paris Photo show hard to endure – you can read more of my thoughts on it in Paris Photo – Photograph as Commodity.

I’ve long thought that the art market has had a hugely negative impact on photography, a medium that – after the cul-de-sac of the Daguerreotype – has unlimited reproducibility at its centre. It really lives in print and on the web, in books and in prints that can be cheaply made and sold and not in expensive limited editions. Of course photographers need to live and some are benefitting hugely financially from photography being sold at high prices, but I feel it has resulted in the emphasis moving away for the core of photography.

I’d hoped to blog from Paris, but poor internet connections from my hotel and elsewhere made that impossible – but I made copious notes at the many events I visited – some with Linda and others including Paris Photo itself on my own.

In the six days I think I visited over 80 shows in galleries large and small across the city making notes on all that I saw, and after I returned home wrote up and posted my ‘Paris Photomonth Diary – the links are in reverse order of the week:

PARIS PHOTOMONTH DIARY
Monday Blues
Sunday Afternoon
Sunday morning at the MEP
A Photo-Off Guided Tour
Saturday Morning
Paris at Night
Menilmontant
Friday Morning
More Photo-Off Openings
Thursday Afternoon
Thursday Morning
Paris Photo Wednesday pm
Wednesday Morning
Openings – Tuesday
Paris Photo – Photograph as Commodity

I also posted these here on >Re:PHOTO, along with a few of my pictures at intervals in November and December 2012 completing the set of articles with Paris 2012 Complete which also has the links above. I think the whole series gives a fairly good impression of a rather busy six days.

I was surprised reading them again today to find how much I had covered and they include some thoughts about the work I saw that I still find interesting. I won’t included the material here as you can just click on the links above to access it. So here I’ll just post a few of the pictures of Paris I took on one day, Thursday 15th November 2012.

During the six days we also did quite a lot of walking round the city from show to show and sometimes just walking to enjoy the city, though we also bought a weekly season for the Metro – it seemed ridiculously cheap, only a little more than for a day in London.

I was carrying a Nikon D800E DSLR, a full-frame camera but I used it in DX mode and several Nikon lenses including an 18-105mm zoom, 20mm and 10.5mm fisheye. I’d left my heavy wide-angle zoom back in England to keep my bag small and light.

There are very few situations where a 7360 x 4912 pixel file is really needed and the only reason I had for moving to full-frame was for panoramic landscape images. For the rest of my work the 4,800×3200 pixel DX format was more than enough. There is no visible advantage until you make prints greater than A3 and even then the difference is hard to see. Nikon orginally said that DX was enough and they were right, but had to move to full-frame to keep up with the marketing.

On My London Diary you can see more picture from Thursday 15th November 2012, including quite a few of the shows we visited – as well as pictures I took on other days. I think I probably did better later in the week when I didn’t spend so much time in Photo Paris.

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All photographs on this page are copyright © Peter Marshall.
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Paris Photo November 2012

Paris Photo 2012: I’ve missed Paris Photo again – the 2024 ‘edition’ took place from November 6th – 10th and it was deliberate.

By 2012 when these pictures from my Paris Photomonth Diary were made I’d been to around half a dozen of these annual events and had become rather bored by them though Paris was always enticing. Something of which I tried to capture in my book of a similar name, PHOTO PARIS, colour images I made there in 1988.

But the actual Paris Photo had lost its appeal for me, and while I still went dutifully around the many stalls I was finding less and less to attract my interest. Many dealers seemed to have more or less the same work on show each year, and more and more of the space seemed to be taken up by huge prints dedicated to commercial decor rather than having much photographic interest.

Of course I always met a few old acquaintances – and occasionally met some interesting people, but I also found myself more and more being treated with disdain by some of the exhibitors; I was too clearly a poor photographer rather than a rich collector.

I’ve never been convinced that photography becoming part of the art market has been a good thing. It has certainly produced a great deal of pretentious and empty work though it has provided an income for those few photographers who have learnt how to play it – with some becoming millionaire celebrities.

Of course there is no merit to starving in garrets but most of the photographers whose work interests me have made relatively modest livings from their work, some relying on income from other sources such as teaching or writing to supplement their income from photography. They were driven by vision and conviction rather than dollars.

From the start of my visits to Paris Photo it wasn’t the actual trade show that I found of most interest, but the huge explosion of photography across the city around it, in galleries, museums, shops and various public places. For the month around the show Paris was awash with photography.

More recently here we have had Photo London, but this has not attracted the city-wide festival of photography that takes place in Paris. The nearest we have had to that was the East London Photomonth organised by Alternative Arts which I think last took place in 2018. I organised several shows over the years which were included in this.

Photography has never enjoyed the kind of widespread cultural regard that our medium commands in France, nor has it developed the relationships that exist there. My friend John Benton-Harris often bemoaned the lack of any real photographic culture in Britain compared with that in his native city of New York.

On My London Diary in 2012 I wrote at length about the limitations of Paris Photo which is about photography as a commodity. Dealers can only show what they have for sale – and so for example despite his enormous importance in the history of photography and his encylopaedic work in Paris, Atget was almost invisible and that the search for novelty by contemporary galleries “All too often this seems to be a turning against the peculiar link with reality which to me is at the root of interest in our medium.“

And I commented, “After a few minutes walking around the great hall containing the photo fair I never wanted again to see work in which people had painted on their photographs, punched holes in them, cut them up, processed them deliberately badly and so on. I’ve never thought showing contempt for the photograph a likely way to produce worthwhile results, but there were rather too many photographers and galleries at Paris Photo who seem to think so.”

But otherwise there was plenty of work in Paris; “around 80 exhibitions in the Mois de la Photo, another 100 or so in the fringe festival, the Photo Off, over 50 in the Saint-Germain-des-Pres Photo Festival, and what seemed to be countless other shows outside of these events, as well as shows of work for the Prix Pictet, the Prix de Photographie Marc Ladreit de Lacharrière – Académie des beaux-arts, the Prix Arcimboldo for creation of digital images, the Prix Carmignac Gestion for photojournalism.” And that was not all, apart from Paris itself, always fascinating.

Many more pictures on My London Diary from the week we spent in Paris in November 2012 in my PARIS PHOTOMONTH DIARY.

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All photographs on this page are copyright © Peter Marshall.
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Remembering Paris

For some years around this time of year I would be in Paris, visiting one of my favourite cities in November because of the huge ferment of photography across the city around the huge trade show of Paris Photo.

I first visited Paris in 1965 for a week in July staying at a student hostel on the outskirts with my future wife, and since then we returned every few years for a week or two in the summer, usually in August when most Parisians are on holiday away from the city. Two of my books on Blurb came out of these visits, In Search Of Atget and Photo Paris, with black and white images from 1984 and colour work from 1988 respectively.

You can see more of the work from Paris in several albums on Flickr – where there are a couple of albums from 1984 and another from 1988 as well as another small set from 2007. But you can see more on my own Paris Photos web site.

I think the first time I went to Paris Photo in November was in 2006, and you can see a set of pictures from my visit on line, but the accounts I wrote for a commercial web site of my visit and the shows I saw there is no longer available.

In 2007 I wrote about my visit for Paris Photo on My London Diary. It was the first time I had been in Paris on my own, though I did meet up with a few people, including my brother-in-law and quite a few photographers also there for Paris Photo. I arrived on the 13th November, just in time for the start of a transport strike, and my first full day there was November 14th 2007.

Paris was a little more difficult on my own, as my O Level French is more than rusty, but I did manage to buy myself breakfast at a café close to my hotel and read a newspaper, which told me there was a trade union protest by the transport workers taking place that afternoon.

I spent the morning walking around Paris before having a lunch at a self-service salad bar and then walking to Montparnasse where the protest was starting. It was a little different from protests in London as I commented in My London Diary, and there were times when my poor French made things difficult. The Leica M8 I was then using was not a great camera, and in particular had problems with colour because Leica had failed to realise its extreme infrared sensitivity needed cutting with a suitable filter on the sensor. Some of the images suffer from this and my failure to process them as well as I now could.

I left the protest as it appeared to be about to march off, and made my way to the opening session of Paris Photo, then at the Carrousel du Louvre, a venue “in the bowels of the earth under the Louvre.” As I commented, “It’s hard to contemplate a more depressing location, although relatively spacious outside the show. It would make a good location for some nasty shoot-em-up video game, sort of half-way between underground car park and shopping mall, a slightly cooler version of hell.”

There was much in the show I found unexciting – or worse, but as I commented, “Its a great opportunity to see almost the whole history of photography in a few days, a collection with much more depth than even the richest of museums – although with some great gaps, as many photographers produced very few prints and their work seldom comes up for sale.”

I went back in the following two days to visit Paris Photo again to see the whole of the show, but after a couple of hours there on the opening day, went with some photographer friends for a meal before walking back to my hotel. You can read more about the rest of my visit on My London Diary.

Elsewhere on My London Diary you can read a more lengthy account of my visit to Paris for Paris Photo in November 2008, November 2010 and November 2012. I’d chosen those even-numbered years because there were more photographic events happening in Paris outside the trade show on alternate years.

*Paris 2008* *– in the steps of Willy Ronis*

Looking back I’d astonished by the energy I appear to have had – and I think in one of them I went to see 87 other shows outside of Photo Paris in the few days I was there. But I was getting increasingly unhappy about Photo Paris itself, partly because so many of the dealers were showing much the same photographs every year and there seemed less and less new work of interest.