The shapes of their backs and hats are a tragic procession, as two children look back into the camera. In a nearby vignette, taken decades earlier, clusters of people leave the post-earthquake, debris-strewn scene in Chasquitambo, Peru. One, taken in Argentina in 2012, is of a homeless girl outside a store, who is watching over four dogs and sitting below a sign that reads, not insignificantly, por la otra puerta (“through the other door”). He summarizes his photo philosophy thusly: “I take a tiny item from page six and put it at the forefront of page one.”Īmong the images showcased are several vignettes, both vintage and recent. I love understated moments,” Depardon says. “I feel confident about anodyne things, banal things, which become universal.
He created his own agency, Gamma, in 1966, though he later left to join Magnum. In 1960 he joined the Dalmas photo agency, initially photographing local news and sports events, but he moved on to foreign reporting, notably covering the war in Algeria. He moved to Paris at age 19, and became a photo assistant. Filching a 6圆 Lumière from his brother, Depardon’s early pictures were very localized: his mother, the animals, and equipment on his parents’ farm. Hung more or less chronologically from the late 1950s to the present day, most images were taken in far-flung places relative to Depardon’s rural upbringing in Villefranche-sur-Saône, in the Rhône.
The exhibition presents 161 color photographs-all new prints-the majority of which have remained unpublished. “Raymond Depardon and color photography are indissociable,” Chandès says emphatically. Curator Hervé Chandès selected what he deems Depardon’s color “moments”-images where color is truly the element that brings out the allure of the image.
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