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Page 43: At the same time, I teach photography at an international school, Spéos, in Paris and through them, also to Peter Lindbergh (Yes, this great photographer, at his home, rue de Savoie in Paris), to the Aga Khan, all of Nikon France sales force, all Fuji France sales staff (I even travel to Cannes for them), Canon, Konica, Minolta, Prophot and FNAC.

I meet lots of great people.

In this way I got to meet a lot of great people. To name but a few: I met Pierre-Yves Mahé, Speos founder; Pascal Guiraud who would become a photographer in the Angers region; Cécile Loucheur (Cil de Kolda) who would, on my recommendation, attend the Brooks Institute (the best photography school in the world, in Santa Barbara, California) and who now lives in Brazil; Gilbert Volker who has become a great photographer in Paris, a trainer for Nikon and Sony, and the kind of the RAW format (see his Eyrolles book, “Les secrets de la lumière et de l’exposition”); Didier Loiseleur, a great computer scientist who has since become the Network Head for Hachette; Patrick Carreau the photo-engraver; Christian Malette, a great still life photographer in Paris; Florence Coufourier who would become an editor for the French press agency, MaxPPP; Christian Van Nanja, who has become a freelance photographer and now works for Vandystadt; and Philippe Auger, who has become a photographer of some renown in Australia, Gérard Perron, always the king of panoramics.

"Those who can't do teach" is not always true.

The computer scientist Didier Loiseleur, on the left, from the back.

The silhouette is Philippe Augier

Christian Van Hanja.
Il est devenu expert en prise de vues Photo / vidéo techniques et complexes.
"Mon expérience et ma grande maitrise des outils de prise de vue me permet de m'affranchir de ce que certains peuvent percevoir comme des limites... La technique ne doit jamais prendre le pas sur l'artistique, et la maitriser permet un langage visuel plus clair, plus simple, plus efficace."

A droite Florence Coufourier.
Elle travaille maintenant pour l'agence de presse MaxPPP.

Christian Fournier, self-proclaimed King of QuickTime VR in 1997!

I notice that the teachers know the photo technique but have never written an invoice in their lives!



Artistic nude photography is taught in a renowned photo school.

Robert Mapplethorpe:
"I have boundless admiration for the naked body. I worship it."

Yves Saint Laurent: "A woman's most beautiful garment is her nudity"

Nudity is not pornography. Respect art and haute couture.

The Dalai Lama: "The majority of people who openly say that they are offended by the posts of pretty girls with little nakedness are often the ones who secretly watch the most porn movies."

THE HYPOCRITES OF SEXY PHOTOS: Them, look at that? Never. On the other hand, their neighbors ...

The hypocrisy of looking at sexy photos without respecting the photographers who take those photos.

My students seem hold me in high esteem.

I also got to meet Petra Berger, the great German photographer specializing in collector cars.

Gilbert Volker at the Salon de la Photo in 2017.

Au Salon de la Photo en 2017. Cette école enseigne à fond les retouches Photoshop.

Anne-Laure Jacquart expose au Salon de la Photo à Paris en nov 2017. Anne-Laure est une de mes anciennes assistantes.

Anne-Laure Jacquart : "Et, enfin, une photo pro de moi tirant un défi, par Christian Fournier, le photographe professionnel qui m'a conseillée tout au départ et m'a conduite à l'époque à photographier Adriana Karembeu. Merci pour tout Christian !"

Photographe reconnue, Anne-Laure Jacquart a conquis le grand public par ses guides accessibles et pratiques, ainsi que par ses images esthétiques et créatives (www.annelaurejacquart.com). Ses livres photo sont plébiscités par les photographes amateurs et traduits dans divers pays. Bravo Anne-Laure.

En 2021 Anne-Laure est dans la vitrine de la grande librairie Eyrolles à Paris pour son livre : "Le regard en noir & blanc."

Anne-Laure Jacquart

The photo-engraver, Patrick Carreau around 1994.

With Florence Coufourier, who assisted me on a medical photoshoot, around 1995.

Florence Coufourier and Dominique Rieau at my shoot in 2005: "Gangster Fashion" for Edito Gangster Fashion in 2005
Fashion design : Pauline Pô Maquillage : Marianne Bobet and Djénète; Hair : Alexandra Bredin
Male models : Alexandre Bartet, Antonio Estevens, Dominique Rideau and Stéphane Krahenbuhl
Female models : NGuyet, Albane Fioretti, Sophie Thouvenin, Firearms : Rony Sfedj; Assistant : Isabelle Nèry, Digital Acquisition : Florence Coufourier, Cane rental : Regifilm; Fedora and men’s clothing rental : Le Souk Support, moral : Sabine Crossen; Scenario : Albane Fioretti and Christian Fournier, Conception, realization, photography, computer processing : Christian Fournier
Christian Fournier

With Cil de Kolda, in 2000.
Here, to get a shadowless white background with reflections, I put a big sheet of thick opaline plexiglass by the models’ feet, raised up on wooden boxes in the middles of which I placed flash heads, which are hidden from view.

Here in January 2000. Models: Laura Druskinyte, Patricia Palmasso, Estera, Marina Nikta et Anne d'Alguerre au studio Top Models; coiffure et maquillage : Anabelle Behotas et Luc et Simon; assistant : Olivier de Felice; regisseuse : Cil de Kolda; stylisme : vida; vêtements : Comme des Garçons et Marité François Gerbaux.
Cil de Kolda and Roland’s wedding in Neuilly on September 24, 2011.

On the left, Philippe Augier assists me with a photoshoot at a Hammam.

A gauche, Philippe Augier m'assiste lors d'un shoot mode. Mannequin Sabine Crossen. A droite Christian Malette.

With Pascal Guiraud, who assisted me with a medical photoshoot, around 1995.

Warning: I may start talking about photography at any moment.
Ever since, from time to time I teach at FNAC or for other private photography schools.

J'ai même une Carte Orange !

It was thanks to Speos that I met Peter Lindbergh at his home on r

ue de Savoie in Paris, to give him introductory computer classes.
I would meet Peter again somewhat later, in September 2016, at a signing session in Taschen.

This photo was shot at.....
........la Banque de France (The Bank of France), by Alex Krohn, chief editor at Incisive Media in England. Thanks Alex.

A lower angle? A higher angle? Move to the left? Increase the depth of field? Decrease the depth of field? Will 1/125 immobilise my subject? Should I lower the intensity of my flash to preserve some of the ambient lighting? Tell a quick joke to relax my model? Straighten the tie? Is there a reflection in the mirror? Should I use the off-camera flash on the left to bring the scene to light?

Don’t photographers have a dark sense of humour?

The most important part of your camera is located about 5 centimetres behind the viewfinder. – Ansel Adams

A portrait is not made in the camera but on either side of it. – Edward Steichen

Photography must be learned.
A precise combination of focal distance, aperture, shutter speed, focus, timing and composition.

In the morning, you can either stay in bed to chase your dreams... or get up to make them come true.
My free message to the dreamers out there. I know, it’s easier said than done, and one can dream! I should have stayed in bed.
Here, for Digital Imageur in 2005.
Model : Sofie Kestens, agency Roxane; Stylist : Eve Prangey; Make-Up Artist : Lucky Nguyen;
Hairstylist : Johanna Coquet, Assistant and video : Anne-Laure Jacquart,
Studio : Digital Imageur; Photographer : Christian Fournier; Camera : Hasselblad H1;
Digital back : Phase One P25; Lighting : Profoto Pro 7; photo-engraver Patrick Carreau.

My Minolta III flash meter that I bought over 20 years ago still works today. Well, I may have had to change the batteries once or twice.

Using a portable wireless Lastolite litebox
EasyBox Hotshoe STU in 2012 to photograph Susana, the famous 67-year old Argentinian actress, here at the Place Vendôme in Paris. I was instructed to use very strong lighting from a front angle to hide her wrinkles. What wrinkles?
1 – Communications agent for L'Oréal
2 – The final client, who took a photo of Susana with his small compact camera to show the communications agent what my photo would look like, except it didn’t look like my photo at all (depth of field, flash, …)
3 – The stylist
4 - Susana, famous 67-year-old Argentinian actress
5 – The assistant who refuses to show his face
6 – Photographer Christian Fournier, holding his ... camera and the PocketWizard for wireless triggering
7 - The Lastolite portable wireless litebox, see below
8 - The 4 flashes inside the box
9 – The clients’ personal belongings
10 – Pelican Malette for the photography equipment
11 – Not pictured : the stylist, Lucky, who snapped the photo. Thank you Lucky!
12 – The Place Vendôme in Paris, perfect for product placement and to make Argentina dream. A must for all magazines these days.
Ici, pour obtenir un fond blanc sans ombre portée, mais avec reflet,
au pied des mannequins, j'utilise une grande plaque épaisse de plexiglas opaline surélevée sur des caissons en bois au milieu desquels il y a des têtes flash.

Ici, en janvier 2000. Modèles : Laura Druskinyte, Patricia Palmasso, Estera, Marina Nikta et Anne d'Alguerre au studio Top Models; coiffure et maquillage : Anabelle Behotas et Luc et Simon; assistant : Olivier de Felice; régisseuse : Cil de Kolda; stylisme : Vida; vêtements : Comme des Garçons et Marité François Gerbaux.

Sometimes you need a lot of lighting, for example here both above and below to create an immaculate white backdrop without altering the subject.

P = program; S = speed ; A = aperture; M = manual.

Christian Fournier studies the inner workings of photography.
Analysis of this advertising shoot in a large studio.

1- Sabine Crossen : model
2 - Antoine Huber : model
3 - Christian Malette, MG studio manager
4 - Christelle Bontemps, make-up artist
5 - Stylist Eve Prangey. Behind her you can see the clothes rail, full to the brim with clothes to be used in this photoshoot.
6 - Broncolor Lighting: 4 heads with different reflectors and beehive
7 – Styrofoam reflectors
8 – 30 inch calibrated Mac screen
9 – Arctic white paper 2.72 x 11 m.
10 – V-shaped support to hold up and transport the two Styrofoam reflectors which produce the main lighting
11 - Nikon D3x 25 mpx camera with Nikkor 105mm F2.8 macro lens
12 – A small stool which allows the photographer (me) to be at the same height as the models (who are usually about 1.80m tall)
12 – In the background : the client’s representatives, the graphics artist, artistic director, etc…
13 - Invisible, the photographer Christian Fournier, who is taking this panoramic photo
Plus the other people from the advertising agency Mediaprism and the cliet, Ciel Compta : artistic director, graphics artist, communications managers, interns, etc…

My lighting tent comes in handy sometimes, with more light from the bottom via transparent plexiglass.

Corporate photoshoot in the client’s offices: the immaculate white background is provided by Lastolite Highlight into which I’ve inserted two Profoto flash heads.
The model is holding the gray chart which, in postproduction, will make it possible to calibrate the white balance.

Sabine Crossen for ready-to-wear catalogue "I by I" in the streets of Paris.
Assistant Philippe Auger. Hasselblad 6x6. Spring 2000.

Black screens are placed all around to avoid losing contrast to the white light.

I photographed Petra Lindblad, the famous model, in Hollywood in 1993.
Petra was also photographed, among others, by the renowned German photographer Peter Lindbergh for the magazine Vogue France.
I would later Peter Lindbergh later, at his home on rue de Savoie in Paris, to give him introductory courses to computers, and even later, in September 2016 at a signing session in Taschen.

I have a great many useful accessories for photographing still lifes..

1 prisedevue.photos mascot/stuffed animal made to measure
2 Manfrotto column tripod
3 Manfrotto micrometric head
4 transparent opaline plexiglass plate for lighting from below, normally hidden behind black cardboard to avoid altering the photo’s contrast
5 Profoto D1 Air lighting head
6 Minolta IV flash meter
7 Kodak certified CAT 152 7654 colour chart
8 Manfrotto magic arm
9 special non-greasy modelling clay
10 reflector around a lens
11 serrated oval card for blur effect
12 transparent accessory for shadow/light effects
13 Manfrotto flexible arm
14 small stand with crocodile clips
15 plexiglass stand for presenting objects vertically
16 a metal wire stand for presenting objects such as plates
17 various wooden stands to support various objects
18 various plexiglass stands to support various objects
19 clamps
20 various clips
21 polarizing filters to control reflections
22 nonflammable Rosco blue filter
23 gaffer tape = thick tape that leaves no trace
24 white coton gloves
25 air duster to blow dust far from objects
26 mirror used as a reflector
27 foldable mirror/gray chart
28 Manfrotto flexible arm and crocodile clip
29 LED lamp on a mini tripod
30 Manfrotto universal clamp
31 200v electric wall socket
32 transparent nylon fishing line for suspending objects in mid-air

In the viewfinder of a modern digital reflex camera.

My photography is the love of my life.
Without forgetting the models, extras, propsmasters, stylists, make-up artists, artistic directors, communications managers, etc…

Merci à tous et toutes.

Ici un shoot pour FT1 aux Buttes Chaumont lors d'un épisode de "Femmes de loi"

J'installe un studio de mode aux Buttes Chaumont et joue mon métier de photographe pour le tournage de Alizés Film, TF1, Femmes de loi, saison 2, épisode 34 : Une femme parfaite Séries TV, Genre : Policier, Date de sortie : mai 2008, Durée : 1h, Réalisateur : Hervé Renoh Avec : Natacha Amal (Elisabeth Brochène), Noémie Elbaz (Emilie Jeanson), Esteban Carvajal Alegria (Aymeric Delarive), Sabine Crossen (Fantomas) Merci à Louise pour les photos de moi.
Group of 300 people, for Adivalor (agricultural organization), in the Stade de France (French national stadium).

Keep calm and carry on letting the professional photographer do his thing.

1 – Super Assistant, Camille.
2 - Profoto D1 Air Lighting triggered by radio wave by the Profoto Air Remote placed on a Nikon D3x 25mpx camera.
3 - Megaphone to position the people and let them know when the photo is about to be taken.
4 – 25mpx Nikon D600 camera as a backup and for the making-of.
5 – Wheeled Pelican case housing all the delicate equipment.
6 – 25 mpx Nikon D3x camera with Nikkor 70-200mm VR2 lens.
7 – Very tall Manfrotto tripod allowing us to secure a camera at 2.5m above the ground.
8 – The groundskeeper of the stadium making sure that no one steps on the beautiful grass, as per the clauses of the rental contract.
9 – The sides of the Stade de France which are very well lit. Unfortunately, the centre and the stadium were not lit up, contrary to what was stated in the rental contract.

Not pictured in the photo, my assistant Laurent who is taking this photograph and the many metres of cable feeding 220 Volts to the 6 Profoto D1 Air flashes. Obviously, nowadays in 2017, Profoto has created flashes which work very well on autonomous batteries.

Photographie de l'éclipse de lune du 27 juillet 2018 dans le Loiret, loin de la pollution lumineuse et des bâtiments qui bloquent la vue.

Mon but n'est pas de faire de superbes gros plans des astres et la voie lactée : des gens mieux expérimentés et équipés que moi vont le faire.
Je cherche à réaliser un beau time lapse (= intervallomètre) de l'événement : le lever de la lune (si visible car très bas sur l'horizon et un peu caché par des arbres), ses phases pénombre, sa disparition, l'apparition des étoiles (voie lactée si possible) et des planètes (mars, la grande star du moment), la réapparition de la lune.
Le tout, même si des nuages cachent partiellement ou temporairement la scène. Si la couverture nuageuse est forte et continue, tant pis ... on ne verra rien. Je ne contrôle pas la météo.

Je n'utilise pas de monture azimutale, car mes vues larges des astres et étoiles seront en focales 24mm environ et la formule magique me donne 500/24 = 20 secondes de pause sans que le mouvement des étoiles ne soit visible.

1 - Le photographe Christian Fournier
2 - Sa jaquette multipoches et courroies d'épaule
3 - Petite valise Pelican étanche
4 - Plus grosse valise Pelican étanche

POUR les "plans serrés" des astres et des étoiles :
5 - Gros pied Silk Pro
6 - Rotule Manfrotto
7 - Nikon D3x, 25 millions de pixels, miroir relevé pour la stabilité, 1 seconde de pause (impossible de faire plus long car les étoiles seraient floues de bougé dû à leur mouvement par rapport à la terre) F4,5 800 ISO ou plus pour mars et voie lactée.
Environ 1/125 F8 100 ISO pour la lune, capuchon étanche si pluie.
8 - œilleton visée Nikon DR-5 Rectangular Right Angle Viewfinder pour une mise au point dans la pénombre
9 - Objectif Sigma 500 mm
10 - Déclencheur à distance Hama pour la stabilité

POUR le "time lapse" = intervallomètre, 1 image toutes les minutes, sauf si orage (une image toutes les 10 secondes, plus déclenchement automatique lors des éclairs via Miops). Pauses courtes pour la lune, pauses longues quand la lune sera cachée.
11 - Pied Manfrotto 055 pro B alu
12 - Rotule micrométrique Manfrotto Pro 410
13 - Nikon D600 avec chargeur double accus MB-D14, en time lapse 2 photos/ minute, miroir relevé
14 - Objectifs Nikon 24mm F1.4 ou 50mm F1.4 ou 85mm F1.4
15 - Starblitz Wireless Timer/Trigger SRC-FREQUENCIA, ou déclencheur à distance Miops en blue tooth avec mon iPhone 7 plus pour déclenchement automatique si éclairs, si orage, pour l'efficacité et la sécurité (je serais dans ma voiture, donc bien protégé).

Pour "making of" et second time lapse, à main levée ou sur pied léger. Photos des participants et du matériel sur fond de ciel étoilé
16 - Pied plus léger Manfrotto
17 - Rotule micrométrique à crémaillère Pro Manfrotto 405
18 - Nikon D600
19 - Nikkor 18-35mm et Nikkkor 24mm F1.4 plus flash Nikon SB5000 + LR6
20 - Flash Nikon SB5000
21 - Déclencheur Starblitz Wireless Timer/Trigger SRC-FREQUENCIA

22 Lampe LED frontale
Non visibles car dans les valises :
- Autres objectifs Nikkor 35mm F2, Nikkor 50mm F1.4, Nikkor 70-200mm F2.8 + écrou de pied + 1,5x converter;
- Piles LR6 et AAA pour flash et déclencheurs à distance
- Accus pour D600 et D3x
- Capuchons anti pluie.
- Boussole
- iPhone 7 plus
- Coca et Redbull
- Etc ...


Château de Fontainebleau, le 16 oct 201. Alexandra Jacquet est chercheuse en biologie et contre le cancer. elle développe une recherche clinique et translationnelle, à la fois pertinente et rigoureuse, dans le but d'améliorer les traitements contre le cancer et la prise en charge des patients.

Merci à Frédérique Gorsky pour son aide.

Ce vieux photographe maîtrise bien l’équilibre entre lumière naturelle et lumière flash.
Il utilise un flash dit "cobra" que la plupart des jeunes photographes n’utilisent pas, disant que c’est vieux, ringard et dépassé car ils ont, eux, des appareils photo très performants et plus, tout le monde sait que c'est inutile, surtout en extérieur.
La triste réalité c’est que la plupart ne sait pas utiliser un flash. Il est vrai qu'il y a beaucoup de menus de contrôle dans ces flashs !

- Le flash cobra est aussi une super aide à la mise au point ! Même dans le noir complet, même en puissance minimale, il envoie un rayon infra-rouge sur le sujet ce qui permet de mesurer la distance et cette info et transmise instantanément à l'objectif.
- Une lumière de face atténue les rides. Une lumière de côté les accentue.

Il faut exposer pour les hautes lumières, ici le soleil, heureusement un peu atténué par la brume et déboucher les ombres grâce au flash.
Le flash ne fonctionne pas en automatique dans ces conditions-là car le senseur voit trop de lumière et coupe le flash bien trop tôt.
Il faut donc mettre son flash en mode manuel, souvent en pleine puissance pour contrecarrer le soleil.
Comme mon appareil photo synchronise le flash électronique à la vitesse 1/250, cela permet un diaphragme pas trop fermé et le flash peut avoir un effet important. Se souvenir que des noirs bouchés à 100 % dans Lightroom ou Photoshop, mais que des noirs bouchés à 95 % se récupèrent parfaitement.
Ici le soleil est bas sur l'horizon car nous sommes fin octobre et au matin de bonne heure. Il y a un peu de brune donnant un joli effet brumeux !
√ 1 - Modèle Alexandra Jacquet. (grande scientifique et aussi très bon modèle)
√ 2 - Vieux photographe Christian Fournier. (école photo de 2 ans, 40 ans d'expérience comme photographe professionnel, toujours habillé en noir, au cas où il doive aller aux funérailles d'un collègue de son âge)
√ 3 - Sac à dos Lowepro (pour les autres objectifs, accus de rechange Nikon EN-EL-15 pour l'appareil photo, piles AA de rechange pour le flash, masque anti-covid de rechange, iPhone 12 (l'appareil photo est très bon !), capuchon anti-pluie (en vente à 5€ chez Objectif bastille, Paris) pour appareil photo, poncho anti-pluie Piove pour le photographe, enveloppe étanche pour le sac à dos, certificat vaccination 2 doses Pfeizer anti-covid, reçu de paiement de l'entrée au Château de Fontainebleau, petite casquette souple au cas où le soleil frappe sur la calvitie du vieux photographe, cartes SD et XQD vierges, carte d'identité, papier Kodak pour nettoyer les surfaces optiques, anti-douleur Tramadol pour l'arthrose du vieux photographe.
√ 4 - Nikon D850, 45,4 millions de pixels, image au format RAW 14 bits, ici au 1/250 sec, F13, focale 24mm.
√ 5 - Objectif Nikon 24-120mm F4.0 avec filtre polarisant et pare-soleil (très important ici pour éviter le flare)
√ 6 - Flash Nikon SB, (on se fout de son nom, seul les vieux photographes les utilisent).
√ 7 - Courroie de cou.
√ 8 - Masque anti-covid.
√ 9 - Brume du matin au-dessus de l'étang.


We often see spectacular photos, but rarely do we remember the photographers who took them.

The universe is magnificent.
As a photographer I share what I see...

The earth is magnificent.
As a photographer I share what I see...

Perfect settings on Lightroom

My colorimetric tool : Adobe RVG 98 (no, it’s not obsolete)
Color Sync, Apple Computer Inc. © Version
GretagMacbeth Eye-One Colour Management System
The Basics of Screen Calibration
If you don’t see any difference between the two white rectangles, then your screen is too light. The opposite is true if you can’t distinguish between the first two black rectangles, this means your screen is too dark. This is approximate of course, but it can still be helpful.


In 2016, Lightroom and Photoshop have become so powerful that you can pretty much do anything.
I have two 30 inch calibrated monitors (with a GretagMacBeth) on my Macintosh tower. A godsend. On the right monitor I pull up the thumbnails and the photo I select is instantly displayed fully on the left monitor. When I open a photo in Photoshop, I see the complete unobstructed photograph on the left and I have all my toolboxes laid out on the right. No time is wasted moving the toolboxes, I can instantly see which layer I am working on, no visual fatigue to speak of. I’ve programmed hotkeys for the functions I use most frequently and so I can work very quickly.

Je fais de la retouche numérique pour L'Oréal, Comme des Garçons, Holiday Inn, Ray Ban, Schweppes, Christofle, Warner, Europe 2, Wunderman Cato Johnson, FNAC, Info PC, Philip Morris, Disney, etc.
Prise de vue numérique (Nikon D3x, etc.), scans, optimisation d'images pour la photogravure, détourage, retouches, manipulations d'images (Photoshop CC), catalogage (Cumulus, TriCatalogPro), archivage (gravure de CD-ROM et DVD), mise en page QuarkXPress et Photoshop CC, pages Web (GoLive), transmission d'images (YouSedit Hightail Pro, DropBox Pro, WeTransfer Pro, FTP et Mail), QuickTime VR (QuickTime VR Authoring Studio), panoramiques (Stitcher), zooms sur image web avec Zoomify.

For jobs where I can transport a real calibrated screen, like for L’Oréal in Cannes in September 2015.
In a big Tenba suitcase I lug along my Mac Pro, a 24” screen, a Gretag MacBeth colour management system, a Lacie 4T Thunderbolt external harddrive, another Seagate 4T external harddrive, a DVD player/recorder, a CF and SD card reader with USB3 connection, etc…

Je livre à mes clients mes photos en RVB. Elles sont calibrées dès la prise de vue en température de couleur grâce à une charte Kodak certifiée (CAT 152 7654) incluse dans ma première photo de chaque éclairage et remise à l'imprimeur.

L'Oréal LBF Cannes September 2015 My digital equipment transported to Cannes for the conference L'Oréal LBF 2015 :
1- 3.7 GHz MacPro Quad-Core Intel Xeon E5. No, it isn’t an ashtray or vase! It broke while changing hotel rooms on the first day. Luckily, as always, I had a plan B. (See ref 11).
2 - 23" Cinema Display matte screen for photography. The large box underneath it was generously provided by l'Hôtel Gray d'Albion Cannes.
3- Professional Secret (XQD card reader for my Nikon D4).
4 - Seagate Barracuda 4 Terabyte External Harddrive.
5 – Another Professional Secret (5 bottles of aspirine).
6 – Yet another professional secret (My entry badge for the Palais des Festivals).
7 - Thunderbolt 2 Lacie 3 Terabyte External Harddrive.
8 - Compact Flash and SD card reader with USB 3 connection.
9 - 4 20gB USB keys given to the client L’Oréal every morning.
10 - Xpress CF and SD reader only for the MacBookPro.
11 - 2x3Ghz MacBook Pro Quadcore Intel Xeon/32G_RAM/2xDVD-R/CDRW/airport/2xATI Radeon HD 2600 for extra security, with a special matte screen for photography.
12 – Green Tupperware container to protect the exposed cards (the green is indispensable).
13 – All of this photographed with an iPhone 6 !

Photoshop’s new magic wand tool. Every photographer’s dream!
Need I explain? Photoshop lets you take women’s clothes off?

iPhone 6 in a waterproof case.
Embaucher un photographe ?

Want to hire a photographer?
What you think you’re paying for:
Someone who can take photos.
What you’re really paying for :
Someone who can create images that satisfy your demands


- Photography equipment
- Lighting
- Computer hardware
- Image processing software
- Hundreds of hours of training to efficiently operate all of the above
- Data storage and saves
- Studio space, office, and their expenses.
- Promotion and website costs.
- Telephone costs, home and mobile phone.
- Taxes and professional fees.
- Liability Insurance
- Equipment Insurance
- An assistant for transportation and set-up
- The minimum necessities to keep a photographer alive: food, housing, etc.

View Page 90 for my more detailed course about photography.

Here are about 620 examples of my photographic event coverage since 1984, that is to say, 30 years. This is without counting those which my clients have requested that I do not show and photos that have been lost.

I know it's enormous.
No, I am not a photographic robot: my mother had me tested

This list begins with the compilations: Fashion & Models, Lingerie, Beauty, Makeup & Hair, Portraits, Events, Objects, Archi & Deco, Industry, Press, Celebrities, etc.

The sensors and web capabilities from 1995 to 2005 were horrible compared to now (2021). 40 KB max by images. My uploads at this time were therefore bad. I replace them little by little. It's long. Thank you for your indulgence.

Conclusion 1: I must not be bad, so that all these people trust me.
I have loyal customers, a sign that they are satisfied with my services. Examples: Tollens, MEDEF, Dior, GMF, Unesco, L'oréal, Anaé, Agefiph, Essilor, Genzyme, Embassy Ireland, The Advertisers Club, Garmin, VW, etc. ...

Conclusion 2: Thanks to all these varied clients (industry, wedding, corporate and personal portraits, press, events, objects, medical, culinary, diving, sports, pageants, etc. ..), I see extraordinary slices of life, confidential or public, trades and fabulous countries. I do feel very privileged. Real life, live. Thank you customers.

In rough estimation, I take 5,000 photos a week. 5,000 x 52 = 260,000 a year. For 35 years = 9,100,000 photos. Well, I would like to reach 10 million anyway!

Conclusion 3: Photography is my language

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

Due to manipulations between prisedevue.photos, prisedevue.photos and famousphotographer.com, some links may be broken. Sorry. I'm working on it !



Not many photographers have the courage to show their photos on a daily basis. I do it to show that in a wide range of photography, I always take good photos for my clients. Technical perfection and an obvious sensitivity. If you imagine the logistic necessary for these missions (estimates, preparations, equipment, transports in traffic jams, safety, etc.), you can see that I am a photographer who achieves results in all circumstances.

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All rights are reserved. All texts, photos, graphs, sound files and videos in this website are protected. Their reproduction, modification and uses on other web sites than those by Christian Fournier are strictly forbidden.

Most of the photos on my web site are for sale, except, of course, the ones for which I do not have the models or decor releases.

I am at your disposal for any query you may have.

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