ABSTRACT
The greatest difference between Hervé Guibert and the other writer/photographers is that his career as a photographer was contemporaneous with, and as long as, his career as a writer. This chapter discusses his photographs, his photographic writing, his photo-texts, and his writings on photography, to show that for him photography is always an act of love, and thus one in which the photographing self is intimately involved and revealed. It also discusses some of the works he published about his illness, and attempts to offer a new angle on the issue of photography and death, within the context of a body of photobiographic works. These works are A l'Ami qui ne m'a pas sauve la vie, Cytomegalovirus and some of the photographs in the posthumously published collections. The chapter analyses the link within the context of how Guibert, as a photographing subject, referred to his own impending death, as the photographed object, in his photographs and photographic writings.
