In seven years of existence, 6Mois has published few French photographers and we have occasionally been criticised for this. Along with the United States, France is effectively renowned for being the country of photojournalism. Paris saw the rise of the prestigious photo-reportage agencies (Gamma, Sygma, Sipa, etc.). Throughout the country, exhibitions celebrating French glories have flourished, from Henri Cartier-Bresson to Raymond Depardon. Perpignan hosts the largest photojournalism festival in the world in late summer every year : Visa pour l’Image. Why would a French magazine be reticent about publishing French photographers ?
The paradox is only skin-deep. Released every six months, your magazine cannot accommodate “hot” photos of current events : isolated and taken out of their context, they would no longer have the same meaning. Celebrity or posed images are also off our radar. Nor are we a magazine for art photography that would publish works exhibited in museums or at the Festival d’Arles. Our project is to relate our era in pictures, with complete stories, that extend a narrative thread over weeks, months, sometimes even years, in order to present and understand the world, to establish from one issue to the next a powerful and subjective visual memory of our 21st century, that of globalisation.
Our civilisation is changing. The era now commencing is that of the interconnectedness and uniformisation of lifestyles, and societies are evolving with astounding rapidity. Phenomena emerging in Asia or Africa are shifting the lines in Europe. American social issues are anticipating upheavals elsewhere on the planet.
The human stories that are emblematic of these evolutions in the world are the ones that interest 6Mois, as we believe that they interest you. Since the language of imagery is universal, we seek surprising stories across the globe, perspectives that have sometimes gone undetected by major international newspapers. Their authors are therefore Italian or Chinese, Russian or American. French as well, of course, when French photographers propose such subjects.
In this spring presentation, we are pleased to publish three French photographers among our long stories. They are in their thirties – fresh talents. Their stories recount the lives of human beings involved in today’s challenges or social phenomena : economic migration, the burial of nuclear waste, and the boom in video games. They came into being because their authors looked around them, quite simply. A good story often starts with a detail.
Behind Thomas Morel-Fort’s reportage on Filipino domestic servants was a meeting in the Paris metro. Donna was on her way home. They chatted, saw each other again, and she accepted to have her photograph taken. The photographer did not hesitate to hire out his own services to a family, so as to experience first-hand what these maids were going through, in sacrificing their own lives to offer their children a future.
The starting point of the reportage by Fabrice Catérini on the burial of radioactive waste in Bure was the reading of a satirical newspaper, Siné Mensuel. He was surprised by the silence of the traditional media and pondered the issue. His reportage appeases both his curiosity and ours. He does not denounce ; he tells the story. He is uncertain ; he asks questions. Adrien Vautier’s dive into the heart of “electronic sports” was due to the insistence of his brother, a journalist in Montpellier, who needed to illustrate a report. That was how he stumbled upon this parallel world of passionate individuals, bewitched by gaming, which attracts so many young people but that we never see.
The publication of these three stories is a happy coincidence. It shows that the centres of interest of a new generation of French photojournalists are in line with the project of 6Mois •
Laurent Beccaria, Patrick de Saint-Exupéry, Marie-Pierre Subtil