photography begins with the daguerreotype in Gabon through American missionaries around 1842. First exclusive Europeans, the daguerreotype pass into the hands of natives to the 1910s. That's about as photographers in 1915 Libreville Gabon began to prevail, pioneers like Toussaint Madol Ntchougwa Artman and Blaise Paraïso. Many photographs have been unearthed which attest volume of the work and talent of these precursors of Gabonese art image. They crystallize some of the history of Libreville: portraits of notable pictures of patriarchs dressed in English fashion, couples and families, etc.. Unfortunately, most shots are yellowed or deleted by the work of temps.Blaise Paraïso was probably the most prolific of these pioneers. He lived the revolutionary transition from SLR format 6 x 6 which would replace the darkroom while expanding fields and possibilities of photography and that of 24 x 36. It would be the first African to engage in the photo essay before and after independence Gabon. The work of Blaise Paraïso will be continued by a son, Honoré Paraïso. From 1960 the Ministry of Information began using the Gabonese. Rogombe Ikouakoua was the Dean of this generation. It was Benedict Métoghe collaborators Michel Nzaou, Hilarion Bangomest Aristide Samba, Luke Djidji and later Antoine and Michel Doukaga Mvog. The photography department of the Ministry was led initially by the personal photographer of President Leon Mba, Alain Carpentier, as a trainer. Carpentier was directly assisted by photographer Rogombe Ikouakoua lab. The service's tasks was to provide photography Topics for Gabonese embassies abroad, to meet the demand for images on Gabon from international agencies and provide reports. After the departure of Alain Carpentier Rogombe Ikouakoua then, the service was taken over by Benedict Métoghet. After training at the School of ORTF image sector, he brought a new twist in how to work light, its rigor in the metering and the introduction of a credible system of record. It was after independence that competitors made their appearance in the profession. Apart from French photographers who work exclusively for the state, two other studios opened their doors: Studio Flash Photo owned by Carpentier and Adon Adon Rene. Then in 1965, the "studio" neighborhoods proliferated, required by subjects in West Africa: Togo-Benin and two French studios, Peps Lovislo and Tropic photo Trolez.Aujourd 'hui, the image of "reporter" that haunts the ceremonies of marriage, withdrawal of mourning, baptisms, etc. represents a strong caricature of what the photograph. This is the result of a monopoly Korean through automation control market "home" of the photo. This situation will not change without reintroduction of photo clubs in high schools and colleges, and considerable support to get out of clichés known and explore more artistic forms.
Adrian P. Adyayéno
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