In a 2010 interview with Charlie Rose, photographer Martine Franck gave an insight into how she first got together with her husband, renowned Magnum founder Henri Cartier-Bresson: “Martine,” Bresson had apparently said to Franck, by way of showing his romantic interest, “I want to come and see your contact sheets.”
“Martine was one classic Magnum photographer we could all agree with,” said photographer Elliott Erwitt. “Talented, charming, wise, modest and generous, she set a standard of class not often found in our profession. She will be profoundly missed.”
Martine Franck is not just a photographer but a photographer’s subject. Mark Bussell wondered what that felt like. She told him.
I’ve been struck by how often she captures people in the act of looking. Was she was specifically pursuing these moments? Or, because she herself was thinking about seeing, did she subconsciously respond to subjects who were doing the same thing? Her answer to both questions: “No doubt yes.”
This month Magnum Photos releases Georgian Spring: A Magnum Journal, a group project for which ten photographers—Thomas Dworzak, Martine Franck, Mark Power, Alex Majoli, Martin Parr, Alec Soth, Jonas Bendiksen, Antoine D’Agata, Gueorgui Pinkhassov and Paolo Pellegrin—traveled to the Eastern European country to document the contemporary culture and national identity. The book is curated and published by Chris Boot, a former Magnum director in London.