1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 59 60 61 62 63 64 65 66 67 68 69 70 71 72 73 74 75 76 77 78 79 80 81 82 83 84 85 86 87 88 89 90 91 92 93 94 95 96 97 98 99 100 Table of contents
page 42: Luckily, I have an advantage, digital photography, still in its infancy in France.
My portfolio on a Kodak Photo CD surprised the Advertising Agencies who though that I wanted to play music to them!
The magazine “Création Numérique” (Thanks Jeff Tombeur) published a CD-ROM of my digital photos in 1994 and put it in his magazine. A French first! I already had my email address and my website at Compuserve, a great innovation at the time.

Fortunately, there is an American community in Paris, very nice and a free classifieds newspaper, FUSAC, France USA Contacts. I find there friendly meetings organized in pubs in Paris. Not dating sites, like most of the time in France at this time, just for exchanges of ideas, services and know-how, professional or amateur. That's where I met Antoine.

Luckily, Antoine Schneck, photographer and better businessman than me offers a collaboration "L'Atelier Fournier Schneck". Thanks to Antoine's uncle I can rent an apartment. Without any collateral it is impossible to rent in France. The owners demand your last 3 electricity bills, etc… My american papers are chinese to them. Thanks Antoine. Thanks FUSAC.


Les covers from that time.
I found this free magazine in a dinner (Breakfast in America) in Paris in 2019.
Thank Frédérique.




In 1994, thanks to the magazine "Création Numérique, I published a CD of my digital photography.



The magazine “Chasseur d’Images” organized a Digital Photographry Contest in 1993 and as very few people participated, I won every category.




Luckily for me, Antoine Schneck, photographer and a much better businessman than I am, proposed we collaborate and we founded “The Fournier Schneck Workshop”. Thanks to Antoine I could finally rent an apartment through his uncle. Without a French address and without a security deposit, it is impossible to rent an apartment in France. Landlords demand your last three rent receipts, electricity bills, and more. I couldn’t give them anything but my American papers, in other words it was all double Dutch to them! Thank you very much Antoine. For your information, I first met Antoine at a meeting organized by FUSAC (French USA Contacts).

I’m no longer homeless!


Pictured above : Christian Fournier and Antoine Schneck ready to embark on the great digital adventure in 1994. We are, without a doubt, among the few photographers who started with Photoshop 1.0 which at the time fit on a single 3.5-inch floppy disk! It was just a format converter.

At the beginning we squatted in a garage on rue Henri Barbusse 75005 next to a pretty nice guy, Raymond Depardon! Then we shared a studio with a digital-resistant photographer Jean-Michel de Forceville, on rue de Charonne, near Bastille. You know, the transition to digital was hard for older photographers, especially if they’d never had any experience with computers. Little by little, however, we did manage to make him see the advantages of digital photography.



"Anything that is in the world when you’re born is normal and ordinary and is just a natural part of the way the world works. Anything that’s invented between when you’re fifteen and thirty- five is new and exciting and revolutionary and you can probably get a career in it. Anything invented after you’re thirty-five is against the natural order of things."
Douglas Adams,




In 1994 we had to find clients through cold calling (without prior contact). This is hard, very hard. Luckily, I learned that I had a higher rate of success if I managed to mention I was advanced in digital photography in the first 15 seconds— before the secretary hung up.

The financial advantages for photographers were monumental: no more buying film, developing equipment, scans. Ditto for advantages in efficacy.

The old Photoshop issue always comes up : "It’s cheating".
Purists will say: "I only shoot in black and white, with just a flash, no digital editing.
My response to that: "Shooting in black and white is already cheating because it doesn’t exist in nature, my eyes only see in colour. If you add the light from a flash, the photograph isn’t natural anymore because you’ve illuminated parts that would normally be too dark to see. That’s also cheating."
This debate just comes down to a question of vocabulary, of rhetoric. No one is really right or wrong.
The KGB were able to make people appear or disappear, in their photos and in reality, very early on.
Even Robert Capa, Doisneau and Henri Cartier Besson, who were all great photographers of renown and skill, admitted having “moved corpses closer to tanks for a better visual impact”, or only “framing the violent part of a scene”, “paying models to pose as more attractive tourists”.
Any photo reportage or text is going to be biased, intentionally or not. There’s no such thing as pure objectivity.
A few years ago at the Palais de la Découverte in Paris, I attended a Perception and Concentration Test. My partner Frédérique, who was sitting right next to me, saw everything. I was taken aback, I did not see reality. This phenomenon is called “Inattentional blindness”. Try it out for yourself on this site: http://www.encyclopedie-incomplete.com/?Test-de-Perception-et-de … just mind-boggling.

Our brain mainly sees what it is interested in. I mean, of course, someone hungry in Paris does not see the streets the same way as a tourist looking to take photos of monuments.
I understood that photography had changed forever when, in 1982, the National Geographic magazine, the Mecca of quality photography, explained that one of the pyramids had been moved so that it fit better within their legendary rectangular frame cover.
http://museumofhoaxes.com/hoax/photo_database/image/the_case_of_the_moving_pyramids/


The Case of the Moving Pyramids. "During the early 1980s, many magazines and newspapers began to use digital imaging devices to manipulate photographs. The most popular such device was sold by Scitex America. The machines were very expensive, but they allowed images to be altered with far greater ease than darkroom techniques allowed. One of the earliest high-profile instances of digital photo alteration appeared on the February 1982 cover of National Geographic (top), which showed a camel train walking in front of the Pyramids of Giza. Readers weren't informed that the pyramids had been moved slightly closer together, in order to fit the vertical format of the cover. No one might have noticed if the photographer, Gordon Gahan, hadn't complained. It then became a source of major controversy. Sheila Reaves, a journalism professor at the University of Wisconsin has speculated that, "The enormity of moving such a large object brought home to people that you can move a shoulder or a smile." Less remarked upon was that the photo was also staged. The camel train had walked by while Gahan was setting up his equipment. He paid them to walk by again."
October 13, 2016 : I met Raymond Depardon for the release for his film "Les Habitants".


I first met Raymond Depardon in 1994 back when Antoine Schneck and I started up the “Atelier Fournier-Schneck”. We were renting out a garage as a photography studio in the court of Raymond’s home on rue Henri Barbusse, 75013.

Raymond Depardon is a French photographer, filmmaker, journalist and screenwriter. He is considered one of the masters of documentary filmmaking. He created the photography agency Gamma in 1966 and has been a member of Magnum Photos since 1979.


The link between films and digital photography.

When I left the USA to return to France in 1993, the advertising agencies, watching me pull out my Kokak Photo CDs, ask if I intended to play them music!

Photo CD is a system designed by Kodak for digitizing and saving photos in a CD.
Launched in 1992, the discs were designed to hold nearly 100 high quality images, scanned prints and slides using special proprietary encoding.
Photo CDs are defined in the Beige Book and conform to the CD-ROM XA and CD-i Bridge specifications as well. They were intended to play on CD-i players, Photo CD players (Apple's PowerCD for example), and any computer with a suitable software (LaserSoft Imaging's SilverFast DC or HDR for example).
The Photo CD system gained a fair level of acceptance among professional photographers due to the low cost of the high quality film scans. Prior to Photo CD, professionals who wished to digitize their film images were forced to pay much higher fees to obtain drum scans of their film negatives and transparencies.



Our first digital camera, the Leaf Lumina, better described as a scanner with a lens on it. It could only work in continuous light.


We worked on object catalogues. Here is the one we made for the prestigious Parisian toy vendor Nain Bleu. It was easier to persuade clients when they no longer had to pay for your film, developing the films, or scans, since this meant a lot of money saved. Still, it took some convincing.


Photo-engravers hated us since we cut out the "scan" step of the graphic chain. In digital photography, if the print is bad, the printer will just say “it’s the digital photographer’s fault”. In film photography this was way easier; all you had to do was look at the original negatives! So we learned to defend ourselves by enhancing our photo analysis: white balance, black and white levels, saturation, etc…

Combined ad for Club Med and Schweppes. In collaboration with the Fournier-Schneck Workshop.

The Lumina Leaf in 1994, more of a scanner with a lens on it! Doesn’t work in anything but continuous light

I spent a lot of money buying all the new digital cameras as they came out.
You should thank me: I may have single-handedly financed their research departments!

Combined ad for Club Med and Schweppes. In collaboration with the Workshop Fournier-Schneck



Then we bought the first digital “24x36” reflex camera, the Kodak DSC 420 which let you photograph in one go, with flash and moving subjects. Fantastic, except that the quality is quite bad compared to what we can get with photo sensors today, more than ten years later.

Here we are taking photos of Dominique Bodis, a politician.

1994: the first digital SLR “24x36” the Kodak DSC 420 (1.5 MP!!!) which made it possible to photograph in one go, with flash and with moving subjects. This was the cat’s meow, except that the quality was quite bad compared to the those in 2015, 15 years later.
Ha, the PC cards and their SCSI readers which only worked every other time!


1994: Impossible to control the colours! Incredible anecdote: the Pont des Arts without any locks.

A snippet.

Here, in 2013.
Okay, well, in 2015 there are no more locks, transparent walls have been erected to block them.

Here alsoa n extract. This also shows the fantastic resolution of my panoramics.


The Kodak DCS 420.

Job for SNCF, the French railways



Here, a beautiful photo of the leaders of SNCF at the Gare du Nord in Paris.

Here, for the advertising agency “Faire Ensemble”, a subsidiary of the Publicis group. Thank you to Marcky Benoilid and to Sabine Recoursé from this agency.



Another beautiful joint advertisement : Mercedes / Comme des Garçons. Thank you to the ingenious graphics artist Marc Atlan, who now lives in California, the lucky bugger.

CRT screens!

My digital touch-ups in 1994 for Comme des Garçons and Mercedes.








We also did medical photography. Here, a stent. A stent is a type of splint, usually a short narrow tube made of metal or plastic mesh, placed temporarily inside a duct, canal, or blood vessel to aid healing or relieve an obstruction. This one measures less than a centimetre long.







I couldn’t suppress my need for independence and I decided to leave the Fournier-Schneck Workshop in 1998 to become a freelance photographer under AGESSA (a French organization that manages social security and taxation for artists such as photographers).


I declared my commercial activity in 1997. I became a full AGESSA contributor on 01/01/1999 after 3 years of exemption.

Antoine Schneck has since become a great independent photography artist, with expositions in many Parisian galleries, notably here in the Grand Palais. Bravo, Antoine

September 2016 : Exposition in the Arc de Triomphe, " Soldats Inconnus" (Unknown Soldiers)
Antoine Scheck is the photographer behind this exposition which pays tribute to 18 unknown soldiers fallen during the Great War.


Antoine Schneck and Eric Colmet-Daâge, editor-in-chief of the magazine "Photo" on April 14, 2010.

Photo is a bimonthly French magazine dedicated to photography, founded by Daniel Filipacchi in 1967. It is currently owned by EPMA.
The magazine aims to discuss photography from many different angles, from photojournalism to avant-garde photography, touching on fashion and especially artistic nudes, which feature on most of its covers.
Photo, through its longevity and international presence is, according to its tagline, « la référence de l'image depuis 1967 ».
Éric Colmet-Daâge became Photo’s editor-in-chief and artistic director in 1994.

Éric Colmet-Daâge


Antoine at the Salon de la Photo in Paris in 2017. Bravo, Antoine.

Sur mes cahiers d’écolier Sur mon pupitre et les arbres Sur le sable de neige J’écris ton nom
Sur toutes les pages lues Sur toutes les pages blanches Pierre sang papier ou cendre J’écris ton nom
Sur les images dorées Sur les armes des guerriers Sur la couronne des rois J’écris ton nom Sur la jungle et le désert Sur les nids sur les genêts Sur l’écho de mon enfance J’écris ton nom

.......
Sur l’absence sans désir Sur la solitude nue Sur les marches de la mort J’écris ton nom
Sur la santé revenue Sur le risque disparu Sur l’espoir sans souvenir J’écris ton nom

Et par le pouvoir d’un mot Je recommence ma vie Je suis né pour te connaître Pour te nommer Liberté

Paul Eluard, Poésies et vérités, 1942

Je déclare mon activité commerciale en 1997. Je suis affilié AGESSA en plein régime le 01/01/1999 après 3 ans de précompte.





Le billet de 100 Francs = Une Femen sur nos billets

Émission de 1990 à 1993 (trois années d'émission). Retrait de la circulation le 1er février 1999

Recto : Portrait d'Eugène Delacroix au centre avec palette et pinceaux. À droite, détail du tableau « Le Liberté guidant le peuple ». Au-dessus du numéro : trois points noirs en relief pour les non-voyants
Verso : Buste de Delacroix, une plume d'oie à la main. Au fond, la place Furstenberg à Paris, sur laquelle s'ouvrait l'atelier du peintre
Filigrane : Portrait de Delacroix, dans rectangle blanc

Graveurs : Renaud (recto), Jubert (verso), Combet (taille-douce)
Dessinateur : Fontanarosa

Signatures : Le secrétaire général, le contrôleur général, le caissier général (quatre combinaisons de signataires)
Alphabets : 135 à 256, numéro à six chiffres


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*************************

Here are about 620 examples of my photographic event coverage since 1984.
I know, it is monstrous.
This list begins with the compilations: Fashion & Models, Lingerie, Beauty, Makeup & Hair, Portraits, Events, Objects, Archi & Deco, Industry, Press, Celebrities, etc.

There is also a search command, not always up to date, but pretty comprehensive on all my reportages:

My blogs

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