Introduction
In 1993, I opened the Camera Obscura gallery with my wife Kiyoko. Our goal was to show the pictures we loved, in conditions respecting the quality of the work: paying strict attention to the hanging, framing and lighting conditions. At the time I was a print-maker and Kiyoko had just resigned from working for a Japanese publishing house: quite naturally we opened the gallery with works by photographers we new and had already worked with (Lucien Hervé, Paolo Roversi), while at the same time emphasizing Japanese photography (Yasuhiro Ishimoto, Tomio Seike, and later Kikuji Kawada, Masao Yamamoto, Shoji Ueda). In 2003, we opened our new showroom on the boulevard Raspail with an exhibition of works by Sarah Moon.
What is your point of view on the financial side of the photographic market today ?
If I compare today’s opportunities with the gallery’s difficult beginnings, it is clear that the photographic market has evolved positively. Nevertheless, it is essential that we sell, we can’t let the market dictate our choices. We are like a publisher who needs a few commercial successes in order to publish the important poet whose books will never sell. Didier Brousse
Artists exhibited
Denis Dailleux, Bernard Descamps, Michael Kenna, Bohnchang Koo, Sarah Moon, Bernard Plossu, Marc Riboud
Camera Obscura
Stand : A62
268, boulevard Raspail
75014, Paris France
T. +33 (0)1 45 45 67 08
