Archive for July, 2011

The Photojournalist’s Canon: Part Three — From Then to Now

In part 1 and part 2 I started on a list of the photographers who have made the greatest influence on successive generations of photojournalists. To recap, this is a start on a “canon” to which you may contribute a suggestion. I’m looking not just for a list of the “great photographers” nor the most famous or successful. I’m looking for photographers who:

  • Produced documentary work reflecting the important standards and ethics of the profession,
  • Stood the test of time by repeatedly producing notable work, and
  • Innovated in the art or profession by being first to adopt an important style or approach, break a barrier or rise above the limits of the day.

Think of who might have been the first to think of something or do something important. That’s a tougher standard than might be immediately apparent.

So let’s wrap this up with a ‘cambrian explosion’ of styles, where the photo essay was codified, scrapped and rearranged in a score of different ways, the portrait took on a whole new meaning(s) and what we reveal of subjects is less rigid. This is a period where photojournalists take the mandate of documenting the world and interpret it personally.  This is the toughest list to assemble because the farther you look back, the easier it is to spot the innovators and revolutionaries. Sometimes it takes the length of a career to see what changes or new ideas a photographer brought to the profession. I’ll be conservative in naming people or groups here, but that doesn’t mean you can’t chime in. Drop a name or two in comments, with a few sentences about what he, she or they did to change the face of photojournalism.

 

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Simply add boiling water. © Estate of Arthur “Weegee” Felig.

Weegee — If being a newspaper or wire photographer was “feeding the machine” as has often been said, Usher (Arthur) Fellig fed it the morsels with the most gristle. As a freelance New York crime photographer in the 1930s and 40s, Fellig earned the nickname “Weegee” for his uncanny ability to beat the cops to a shooting. They assume he had his fingers on a Ouija Board to get there. In reality, he had a police radio in his car with a darkroom in the trunk, lived in the center of the crime in Hell’s Kitchen, and ran on the motivation of a paycheck. He was one of hundreds of Speed-Graphic-wielding freelancers plying the same trade, but Weegee had a rare sense of humor and irony in his images of New York’s underbelly, and Barnum’s penchant for self promotion. He was the star of a particular way of working that still includes many hot-spot-hopping freelancers and wire contributors. But he is the one that got the MOMA and ICP exhibitions, and yes, he would have pointed that out to you.

 

Magnum members, 1951.

Magnum Photos — Magnum Photos is not the first photojournalism agency, nor the first group of photographers to coalesce. Magnum changed the idea of the ownership of images, insisting that the copyright of the work remained the photographer’s property. The prominence of the photographers who founded it — Robert Capa, Henri Cartier-Bresson, David “Chim” Seymour and George Rodger — gave the cooperative and its subsequent members the leverage to change business practices in the profession of photography for the better. It remains the preeminent photojournalism agency, and the style of its members has influenced every subsequent generation of photographers and photojournalists.

 

Wake, Deleitosa, Spain, 1951. © Estate of W. Eugene Smith

W. Eugene Smith — Smith had the news sense of Alfred Eisenstaedt, the understanding of combat of Capa and the technical polish of Walker Evans. He is also our model of obsessive-compulsive, irascible and addicted artist of the real. But his greatest contribution was in the redefinition of the photographic essay. In 1949 he broke with LIFE’s script for a photo essay on a country doctor in Colorado to photograph what he saw (and a little of what he wished to see). That essay and subsequent ones on Dr. Albert Schweitzer and nurse-midwife Maude Callen reshaped the way we approach the long form of photojournalism. An essay on a Spanish Village under fascist rule is arguably the template National Geographic has followed since for covering a place. His last essay on mercury poisoning in Minamata, Japan, is one of the most powerful and complete reportages on the environment ever published. And his failed essay on Pittsburgh at mid century is one of the most beautiful, compelling and epic failures of the profession. He was also a compulsive audio collector, amassing thousands of hours of documentary sound from a New York City loft from the late 1950s to the early 1970s. His personality was a cautionary tale for how to act and how not to act, but his essay work will echo for the foreseeable future.

 

Elevator operator, Miami Beach, 1955. © Robert Frank

Robert Frank — While Smith was crafting the public, mainstream photographic essay for LIFE and Magnum Photos, Frank was creating a model of the personal photographic essay. On a Guggenheim grant in 1955, Frank crossed the U.S. photographing the world’s foremost power with the eyes of a foreigner. The Americans was an overtly critical look in the mirror for most Americans and flew directly in the face of Steichen’s contemporaneous Family of Man. Walker Evans was one of the few who saw the value in the images. “It is a far cry from all the woolly, successful ‘photo-sentiments’ about human familyhood,” he wrote. Where Smith’s stories may assemble virtual bullet points in the images chosen, Frank’s are personal, subtle and tease the emotions of the reader. Smith’s images were about the emotions of the subject. Frank’s work has influenced the craft as deeply as Smith’s and his approach has emerged in the work of others from Larry Fink to Danny Lyon, Garry Winogrand, Lee Friedlander, Bruce Davidson and probably you. He is an artist, poet and filmmaker, and says he lost his Leica in 1962 and didn’t mind.

 

New York, 1954. © William Klein

William Klein — If Frank’s work was about the distance and ennui of American society, Klein’s poked your nose and boldly stated that New York is Good and Good For You. His 1956 book by that name grabbed you by the shirt and dragged you into the streets of the city at close range, with very wide-angle lenses in a way that wouldn’t let you escape. Klein took that energy into the fashion world where he and a few others created the look of fashion images in the 1960s.

 

© Elliott Erwitt

© Elliott Erwitt

Elliot Erwitt — I once sat at JFK with a fresh copy of Erwitt’s Personal Exposures catching the annoyed glances of fellow air travelers because I could not contain the out-loud laughs as I paged through the book. As a journalist Erwitt is incisive, catching one of the iconic moments of the Cold War among others. But he is most notable for an irrepressible humor in his images that has never — to my knowledge at least — been matched by anyone. His work is a stream of dry and witty jokes, slapstick humor and uncanny timing.

Jaqueline Kennedy Onasis. © Ron Galella

Ron Galella — In class I often ask new students if they would consider the paparazzi to be journalists. There is no genre of documentary photography more maligned than those who chase celebrity the way Weegee chased murders, and the students’ responses reflect that viscerally. But if the moment be real, I argue, what’s the difference? The idea of doing it still makes my skin crawl, but I have to admit that it is the journalism of the low-brow we all crave from time to time. The granddaddy of these used-car-salesmen of the profession is Ron Galella, the paparazzo who would not let Jackie O out of his sight, resulting in lengthy legal battles. In one case he was given a requirement to stay 150 feet away from his favorite subject. The second required him to stop photographing her for life. Marlon Brando punched him in Chinatown. Sure, there were celebrity-following camera jockeys long before him and will be as long as there are celebrities. But Galella took dauntless obsession and anything-for-the-shot to new heights (or should that be depths?).

 

© Josef Koudelka

Josef Koudelka — There are a few regions where reality and magic blend in the eyes of artists and the words of poets. Latin America and Eastern Europe have both produced remarkable photographers whose work reflects the magic realism of Borges, Márquez or Llosa. If I knew eastern European authors I would include a few of them in simile too. His images of the rituals and lives of Slovakian gypsies are infused with the magic we imagine in their lives. They are intimate images the way Frank’s are, but the emotions come not just from the photographer but seemingly from the subjects themselves. And his work on the Soviet invasion of Prague in 1968 demonstrates a bravery fictionalized by Milan Kundera in The Unbearable Lightness of Being.


Refugees in the Korem Camp, Ethiopia, 1984. © Sebastião Salgado and Amazonas Images

Sebastião Salgado — He began his professional life as an economist for the International Coffee Organization but soon drifted to photography through which he has documented the social and political circumstances of the people most directly affected by the production of that and other commodities. This is firmly in the traditions of Riis, Hine and the FSA among others. But what makes Salgado’s work different is a fusion of the magic realism of Álvarez Bravo or Koudelka combined with the compositional complexity of Cartier-Bresson, and a skill for revealing the dignity in his subjects, no matter their circumstances.

 

Street kids, Seattle. © Mary Ellen Mark.

Street kids, Seattle. © Mary Ellen Mark.

Mary Ellen Mark — Many photographers have relished photographing subjects at whom you might like to stare — Richard Avedon’s In the American West, Diana Arbus’ work — but Mark developed early a style that blends social documentary with the made-you-look quality of subjects on the fringes of society. You may sometimes be shocked, but you never want to turn away from her empathetic stories.

 

Alexander Calder © Arnold NEwman

Alexander Calder © Arnold NEwman

Arnold Newman — Until the latter half of the 20th century, the posed, formal portrait was as much about vanity as it was a document. Portraits reflected the Old Masters in style and composition more than they really illustrated the life or personality of a subject. Perhaps the greatest practitioner of the environmental portrait was Arnold Newman, who could coax personality from a subject and reveal it in a telling environment better than anyone. There have been portraitists who have lit better, composed better, been more stylized and flashy, but few have taught us so much about the subjects themselves.

 

Birmingham, Ala., 1963. © Estate of Charles Moore.

Wenela recruiting corporation, Eloff St Extension, Johannesburg, 1959. For chest examinations the recruits were required to strip. Magubane gained access to the facility by wearing a white coat and posing as an official. COPYRIGHT: PETER MAGUBANE

Mine worker inspection, South Africa. © Peter Magubane

Charles Moore and Peter Magubane — Few Western photojournalists ever find themselves covering strife and revolution in their own backyards. Both of these men — Moore in the American South during the Civil Rights Movement and Magubane in South Africa under Apartheid — photographed their own cultures, neighbors and backyards in upheaval. It is always more difficult to photograph one’s own world than it is to photograph the foreign. These men, and others like them such the “Bang Bang Club,” Micha Bar-Am and others in similar circumstances have had to turn the cameras onto their friends, neighbors and families to tell the story of a revolution, and in the process created documents that explain deeply from within the story itself.

© Estate of Ernst Haas

Cuba. © Alex Webb

Ernst Haas and Alex Webb — Color photography has existed since the beginning of the 20th Century, but it did not reach maturity until color print reproduction was common and affordable in magazines. Until Haas and Webb, color was a secondary element in a photograph — more detail, more reality but less so an element of design. However Haas made color a principle element of mood and emotion, and Webb uses it as a structural element of composition. For both, color was as primary a reason to make an image as the moment in the scene, the social or historical significance or other graphic elements of the photo. They see color better than their predecessors.

Arnold Schwarzenegger. © Annie Leibovitz

Annie Leibovitz — Whereas Newman was out to find and photograph the person behind the celebrity, Leibovitz developed a style in the 1980s of photographing the celebrity in front of the person. Her subjects reveal not their innermost selves, but the crafted stage persona they have all developed and that is the source of their fame. And like many styles and approaches, Leibovitz has been emulated with failure more often than success as many photographers strive for stylization over substance in portraits. In addition to the portraiture, Leibovitz also revolutionized the way we document celebrity behind the scenes with her complete access following the Rolling Stones in the early 1970s.

And who comes next? I see trends away from the crisp realism of the last century toward an edgy, blurred point of view that feels like the pictorialists taking on the subject matter of Lewis Hine or Robert Frank. Who is the progenitor of that mood or another possible shift in how we approach our craft or profession? I am just one opinion with one knowledge set. You tell me who comes next.

Please note, most images on this post are linked directly from the originating sites rather than downloaded and republished. Please forgive any dead links.

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The Photojournalist’s Canon: Part Two — Early 20th Century

In the last post I started on a list of the photographers who have made the greatest influence on successive generations of photojournalists. To recap, this is a start on a “canon” to which you may contribute a suggestion. I’m looking not just for a list of the “great photographers” nor the most famous or successful. I’m looking for photographers who:

  • Produced documentary work reflecting the important standards and ethics of the profession,
  • Stood the test of time by repeatedly producing notable work, and
  • Innovated in the art or profession by being first to adopt an important style or approach, break a barrier or rise above the limits of the day.

Think of who might have been the first to think of something or do something important. That’s a tougher standard that might be immediately apparent.

So here’s part two, the photographers that opened the 20th century. This is the generation of photographers who picked up the new small cameras that shot roll film and started documenting life in action. They created what we consider photojournalism out of a near vacuum:

 

    Jacques-Henri Lartigue, Grand Prix de l'AAF, 1912 © Estate of Jacques Henri Lartigue

Jacques-Henri Lartigue, Grand Prix de l’AAF, 1912 © Estate of Jacques Henri Lartigue

Jacques Henri Lartigue — Lartigue picked up a camera as a very young boy and aimed it at his adventurous family at the end of France’s Belle Epoque. His best-remembered images are of auto races, early airplanes and cousins leaping in midair. His early images are of the fascinations of a young wealthy boy of the gilded age, but they show a joyful innocence unmatched in most documentary work. They are exuberant, ecstatic and defy the limitations of the photography of a century ago, capturing peak action and decisive moments with very slow plate cameras. To any child — which is what he was when he made his best-remembered images — there are limitless possibilities and no hard rules. His work shows the possibility in working without any adult-world-imposed constraint. He lived a long life, working as an illustrator and painter, then again as a photographer after his rediscovery by John Szarkowski and the Museum of Modern Art in the 1960s.

‘The Terminal’ or ‘The Car Horses’ New York 1893 – By Alfred Stieglitz © Estate of Alfred Stieglitz

Alfred Stieglitz — Photojournalism is inextricably attached to the art of photography, as we make thorough use of light, form and composition in our work to change the world. No single photographer or curator did more to battle for the status in America of photography as an art or to promote its practitioners. His own work is often documentary, capturing steaming horses on cold New York mornings, and street life on the edge of night much as his European contemporaries Eugène Atget and Brassaï did in Paris. He promoted many photographers on or linked to this list, from Paul Strand and Edward Steichen to Ansel Adams who, in addition to his famous landscapes, documented the Japanese internment camps of WWII. Though his photography career crosses the 19th and 20th centuries, his influence was strongest in the years between the world wars.

Preparing for the strike on Kwajelein Photo by Edward J. Steichen aboard the U.S.S. Lexington (CV-16), November 1943

Edward Steichen — Few working lives spanned more interesting changes in photography, more genre of the art and more positions of influence than those of Edward Steichen. He began his career at the dawn of the 20th century by making an amazing array of portraits of the luminaries of the day, from J.P. Morgan and Theodore Roosevelt to Pierre August Rodin, Henri Matisse and George Bernard Shaw. His portrait style has resonated through subsequent generations from Yousuf Karsh and Philippe Halsman onward. That work moved him quickly into the world of fashion where his images helped define the styles of magazines like Vogue for a generation. Himself a WWI Signal Corps aerial photo veteran, Steichen volunteered for duty in WWII, was commissioned by the navy at the rank of commander, and formed a team of photographers to document the war in the Pacific. His team included notables Wayne Miller, Charles Kerlee, Fenno Jacobs and Horace Bristol, among others. His own images, made of combat when he was already in his 60s, are notable for their capture of war action and the strange, graphic beauty of naval aircraft carriers. On war’s end, Steichen took the position as the first-ever curator of photography at the Museum of Modern Art in New York he mounted the “Family of Man” exhibition in 1955 which gathered images from around the Cold-War-stricken world to illustrate his point that, “The mission of photography is to explain man to man and each man to himself. And that is no mean function.” The massively successful exhibition helped define what photojournalism was at midcentury and influenced most of the work that has come since. Inclusion in the exhibition launched the careers of many photojournalists around the world, and the exhibition catalog has remained in print for more than 50 years.

 

Shadows of the Eiffel Tower, Paris, 1929, by André Kertész © Estate of André Kertész/Higher Pictures

André Kertész — Cartier-Bresson once said on behalf of himself and others of his generation, “Whatever we have done, Kertész did first.” Kertész started photographing in Hungary before WWI, and through his service in the Hungarian army in that war. After developing his style — one of intricate and graphic compositions, geometric patterns and decisive moments — he moved to Paris in 1925. His work there was warmly received, but in 1936 he accepted an offer to go to New York, both to work and escape the Nazi threat building in Europe. He stayed until just before his death in 1985. He was also an early adopter of small handheld cameras allowing him to catch fleeting moments and travel lightly. Kertész’ work is artful, perfectly crafted, subtle, delicate and deeply inspiring. In perusing it you can see not only his brilliant seeing, but premonitions of all that followed.

 

Wall Street, New York, 1915. © Estate of Paul Strand

Paul Strand — Strand was not a self-described photojournalist and he is certainly better known as an art photographer. However he was instrumental in breaking the photography of the early 20th century away from the soft-focus romantic “pictorialism” of the day and showing that the power of the medium is crisp realism. He made powerful documentary portraits and photographic essays, and his art remained rooted firmly in the real world. And in anticipation of the early 21st century and visual journalists like Tim Hetherington, he was an accomplished cinematographer and film maker, documenting New York, the Spanish Civil War and the struggles of Mexican fishermen in his cinema career.

 

Aristide Briand, pointing at Erich Salomon, exclaims, “Ah, there he is, the king of the indiscreet!” Paris, Quai d’Orsay, August 1931. © Estate of Erich Salomon.

Erich Salomon — Advances in photojournalism come on the heels of technological advancement. From images of the still and quiet death on mid-19th-century battlefields to the galloping horses of Muybridge, film speed, camera handling and lens speed have all influenced the state of the visual art. But until the 1920s, candid, handheld photography with a small camera was a challenge. Though “press cameras” and SLRs had been around for decades, the first camera that actually allowed the kind of photography we now relish was the Ermanox. It was a 645-format plate camera with a focal plane shutter that could shoot up to 1/1000 second (also not new), but it had an incredibly fast f/1.8 lens. On that format it was as difficult to engineer and had less depth of field than a 50mm f/1.0 has in the 35mm era. Complicating its use was that the focus at that narrow depth of field was done simply by guessing the distance. The master of Ermanox use was Erich Salomon, a German Jewish law school graduate who introduced himself as “Doctor.” With little prior photo experience, Salomon picked up this new little camera (one nearly universally shunned by professionals) and started talking his way into venues where no one had yet ventured with a camera — courtrooms, political meetings, the homes of the famous. He always dressed impeccably, conducted himself with the manners of a person who might be expected to be at such scenes and made pictures either overtly or by concealing the camera. Soon his images were being published by Berliner Illustrierte Zeitung — a political weekly that had pioneered visual reporting. Salomon was fluent in several languages and a talented political observer. Politicians either loved him and invited him into their worlds, or hated him and worked to make sure he was spotted at scenes. He also pioneered the technique of handing over unexposed film with supplicating apologies when caught where he should not be, and keeping the exposed films for publication. Though he had considered emigrating to the U.S. where his images were also being used by the new illustrated weeklies, he kept putting it off until in 1943 he and his family were forced into hiding. They were betrayed by a meter reader who noticed the heavy gas consumption at the house where they were staying in Holland. Salomon was killed at Auschwitz in July 1944.

 

A goalkeeper dives for the save, Budapest, 1928. © Estate of Martin Mukácsi.

Martin Munkácsi — Munkácsi is perhaps most famous for making the image that inspired Henri Cartier-Bresson to drop a paint brush and pick up a camera. The image — of a trio of boys running into the surf of Lake Tanganyika — is his most often reproduced, thanks to HC-B. But behind that image is a career as an action photographer. In Europe before WWII he was the toast of the fashion and sports photography world. Anyone who assumes sports photography is only possible with autofocus and ten frames per second needs to look at his tightly cropped, shallow-depth, razor-sharp images of goalies diving for a save or polo riders in mid-strike made in the 1920s on 4X5 and larger plates. Skiers breaking over cornice lines, dancers in flight, and models in mid leap hallmark his work. He went to challenging lengths to get his images — laying in the surf with a bellows-focused camera to photograph swimsuit fashion in the 1930s.  Like his Hungarian compatriots Andre Kertész and Robert Capa, he was drawn to the U.S. before the war, and like Kertész, he languished here among much less inventive editors and publishers.

 

     Nazi propaganda minister Joseph Goebbels, 1933. © Time-LIFE, Inc.


Nazi propaganda minister Joseph Goebbels, 1933. © Time-LIFE, Inc.

Alfred Eisenstaedt — Eisenstaedt’s career began in Germany in the late 1920s with the illustrated press that arose there and ran into the 1990s for LIFE magazine, for which he was one of the first staff photographers in 1936. His last photographs were of Bill Clinton and family in 1993. He used small cameras from the start, making active images in low light on the heels of Erich Salomon. A few of his images are enduringly remarkable — Nazi propaganda minister Joseph Goebbels glaring with hatred, The V-J Day kiss in Times Square, a parade of gleeful children marching behind a drum major. But by today’s standards most of his images — though technically solid and timed well — seem boilerplate. We feel we’ve seen them so many times before. But what must be remembered in looking at his vast body of work documenting most of a turbulent century, is that Eisenstaedt didn’t have Eisenstaedt to emulate. He is the template for most of what we do. His journalistic sense was impeccable. Not only did he define the genre of photojournalism in how he worked, but he defined what it looks like to be a professional photojournalist. There is some Eisie in everything we do.

 

Bullring, Valencia, 1933. © Henri Cartier-Bresson

Bullring, Valencia, 1933. © Henri Cartier-Bresson

Henri Cartier-Bresson — He said that Kertész did it first and that Munkácsi influenced him. Can we put him on this list? I will argue yes, and not because he’s my hero of heroes. HC-B’s influence on all photojournalism since the 1940s is so wide and so deep it would be remiss to consider him derivative. His innovation comes from taking Kertész’ form and grace and combining it with Munkácsi’s timing to define that decisive-moment photojournalism and street photography we so love. He produced, directed and filmed documentary films during the Spanish Civil War and again in the U.S. in the 1970s. He fused high art and incisive journalism more directly than anyone before, and cofounded one of history’s most influential cooperatives to promote it.

 

     Running for shelter during the air raids. Bilbao, Spain, 1937. © Estate of Robert Capa and Magnum Photos.


Running for shelter during the air raids. Bilbao, Spain, 1937. © Estate of Robert Capa and Magnum Photos.

Robert Capa — As seen in the last post, war photography was not new and the bon-vivant photojournalist persona was not either. But Capa amplified both to as-yet-unseen levels. Capa was a talented self-promoter, inventing a name with his collaborator Gerda Taro (also an invented name) to make his work seem more valuable to editors. He photographed and filmed conflicts from the Spanish Civil War to the Japanese invasion of China, WWII, and Indochina where he was killed in 1954. His gritty few frames of the Normandy landings on D-Day are some of the most iconic images of the biggest conflict in world history. His style and approach have influenced all war photography that has followed, from David Douglas Duncan to Larry Burrows, Don McCullin, James Nachtwey and the late Chris Hondros. His high-stakes, high-living style has become the cliched image of the gambling, loving, champagne-drinking world photojournalist, so much so that Hitchcock fictionalized him in Rear Window. And on founding Magnum with Cartier-Bresson, David “Chim” Seymour and George Rodger, he was instrumental in reclaiming rights to their images for photographers.

 

Walker Evans, ‘Truck and Sign’ (1928-30).

Walker Evans — We know Walker Evans mostly through his work for the Farm Security Administration Photography Program where he produced some of his most meaningful images. But Evans was an accomplished documentary photographer before he joined Roy Stryker’s team. More interestingly, he was fired from the FSA. Evans and his work are as straight as an arrow. He took the idea of documenting seriously, using large format cameras to meticulously correct perspective and distortion on images of simple buildings throughout Depression-era America and in Cuba. But his images are far from artless. They prove over and again that art does not need to come from gimmick or visual trickery, and that the subtlety of light, shape and content can send a powerful message about the state of a culture. SX-70 Polaroids he made in the 1960s presage even a current fascination with those films and their phone-app emulators.

 

Relief line following the Louisville Flood, 1937. © Estate of Margaret Bourke-White and Time-LIFE Inc.

Margaret Bourke-White — Bourke-White was not the first woman photographer, but she broke more glass ceilings and social barriers than any other. She was hired as a staff photographer for Fortune on the cusp of the Great Depression in 1929, was the first Western photographer allowed to photograph Soviet industry in 1930, and a staff photographer and author of the first cover of LIFE magazine in 1936. Like her contemporary, Dorothea Lange, she photographed the dire conditions of the Great Depression, and authored a book (with then-husband Erskine Caldwell), Have You Seen Their Faces. She was the first authorized woman combat correspondent of WWII. Her images of the Nazi death camp at Buchenwald are some of the principle historical evidence of Nazi atrocities. With Cartier-Bresson she photographed the partition of India and Pakistan and the violence it spawned, and made moving portraits of Mohandas K. Gandhi on the eve of his assassination. Her autobiography, Portrait of Myself, is a valuable read for any photographer.

Ingrid Bergman at Stromboli, 1949. © Estate of Gordon Parks.

Gordon Parks — Parks was a classic Renaissance man: A concert pianist, composer, photographer, writer, and filmmaker. There were black photographers before him, but none who elbowed his or her way through the discrimination of the day as effectively as him. He was born in Kansas and began his adult life as a railroad porter, but as a very young man he picked up a camera to photograph the plight of migrant workers. He progressed from that first roll to photographing fashion in St. Paul, which caught the eye of Joe Louis’ wife Marva. From there he branched to portraits of black society women in Chicago and on to documentary work about Chicago’s South Side in the Depression. An exhibition of that work caught the eye of Roy Stryker who gave him a fellowship with the FSA. His first images there struck right at the heart of how the nation’s Capitol treated its black workers. After the FSA disbanded, Parks moved to Harlem where he worked for Vogue and then LIFE where he was the first black journalist. He photographed Malcom X, Stokely Carmichael, Muhammad Ali and produced a book-length essay on an orphan in a Brazilian slum. But that was just his photography career. He was also a successful novelist and poet, and wrote and directed the 1971 “blaxploitation” hit movie Shaft, for which he also wrote the score and popular theme.

 

Striking Worker, Assasinated. 1934. © Estate of Manuel Álvarez Bravo

Manuel Álvarez Bravo — Like others on this list, he described himself as a photographer, not a photojournalist. And like others he was a surrealist above all in the early 20th century. But his often political work brought attention to the struggles of a nation. His portraits, art and surrealism inspired generations of photographers from Tina Modotti to Graciela Iturbide, Flor Garduño, Miguel Rio Branco and Cristina García Rodero. He was the first Latino photographer to rise to prominence, and he helped define the style of a hemisphere.

 

Homeless, Atoka County, Okla., 1938, by Dorothea Lange

Homeless, Atoka County, Okla., 1938, by Dorothea Lange

The Farm Security Administration Photography ProgramWalker Evans, Dorothea Lange, Arthur Rothstein, Gordon Parks, Jack Delano, Russell Lee, Carl Mydans, John Vachon and Marion Post Wolcott. It was the dream team of documentary photography, assembled by economist Roy Stryker to photograph the plight of the American farmer during the Great Depression. The purpose was propaganda, really. But neither Stryker nor his photographers felt they needed to create advertising. The truth of the American economic situation spoke for itself, and as a result we have an incredible document of America at one of its most difficult points. Many of the photographs are the icons of that age, burned into the retinas of Americans born more than a half century after they were made. Most of the photographers went on to long photojournalism careers for LIFE, Look and other popular magazines. Mydans, who with his reporter wife spent time in a Japanese prison camp after the fall of the Philippines, made one of the iconic images of the Pacific War. Stryker carefully populated his staff to allow access to both genders and as many races as possible, to leave no group undocumented. Their work forms a template for cooperative documentary projects and expands on the social documentary started by Riis a half-century earlier. With every subsequent economic crisis, their work has been republished and emulated.

To part 3…

 

Please note, all images on this post are linked directly from the originating sites rather than downloaded and republished. Please forgive any dead links.

 

 

 

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The Photojournalist’s Canon: Part One — The First 50 Years

This is a set of posts about inspirations and influences. I know you may have landed here following a search about camera equipment, but to quote Peter Adams, “A camera didn’t make a great picture anymore than a typewriter wrote a great novel.” Photography is about seeing and making any camera of any sort work for you. This post should cite many examples of that.

A “canon,” as used here, is a list. It may be a collection of rules from a religious authority or a list of the great books, music and art of history. This canon is a rough start on a list of the most influential photojournalists or documentary photographers (largely the same thing) to have aimed their lenses at the real world.

The idea came to me as I was looking for a favorite recipe the other day (poblanos en nogada if you’re curious). I went to the stack of cookbooks and pulled Raymond Sokolov’s The Cook’s Canon: 101 Classic Recipes Everyone Should Know, and found myself wondering who or what would be on a photojournalist’s canon.

This could be approached a few different ways: It could be a list of great works, a list of great essays, a list of great photographers. I chose the last because great works or great essays can be isolated incidents in a career, or can be forgotten or never escape a small readership. Great photojournalists have succeeded in not only repeatedly producing great work, but in getting it seen by masses and collected by institutions.

Why bother? Everyone’s list may be different. Some will argue the merits of who makes such a list. Who am I to decide? But that’s the beauty of a blog. This is ostensibly a conversation, and I make no pretense that I have the final word. Please feel free to add to this list in the comments with a name and a few sentences to make your case.

And what do you care? For many, this should be a reminder of who influenced us to take up the profession whether they are on this list or not. For students of the art/craft/profession, it is a list of those worthy of some study. For all it will hopefully be inspiration to truly innovate in what we do.

In order to have a pattern and avoid excessive repetition of styles, here are the standards I have selected. He or she (or maybe they) should have:

  • Produced documentary work reflecting the important standards and ethics of the profession,
  • Stood the test of time by repeatedly producing notable work, and
  • Innovated in the art or profession by being first to adopt an important style or approach, break a barrier or rise above the limits of the day.

This isn’t as easy as it might seem to be. For example, take Henri Cartier-Bresson. Of the decisive-moment-layered-geometric-composition style is he the first? Or did André Kertész do all that first? Should Marc Riboud, also one of my personal heroes, be included? Or does his work stand firmly in the same genre as HC-B? The nuances and potential arguments are many. But what the hell. It’s worth a try. If you add to the list, make a point about why they were first or best at an approach. If I were just making a list of favorites, this would be a different sort of list.

In order to make this an approachable read, I’ll start with the first 50 (or so) years:

03_HistoryRoger Fenton — This guy may have been the first photographer to drag a camera into a war zone. He photographed the scene of “The Charge of the Light Brigade” in the Crimea in 1855.  Though until the 20th century photography was seen not as art but as document, Fenton may have been the first photojournalist. Granted, his ethics would certainly not pass even 20th-century standards, but he made a few long exposures on sluggish glass plates that for the first time transported viewers to the scene of a major world event.

 

Bodies of Confederate dead gathered for burial after the Battle of Antietam, September 1862, by Brady photographer Alexander Gardner.

Mathew Brady — Six years later this star American photographer arranged a similar thing. Brady was a studio photographer noted mostly for his portraits, including those of Abe Lincoln made — as many assume — by securing the president’s head to a metal rod so he could hold still for the long exposure. Imagine… “Excuse me, Mr. President while I strap your head in place…” But Brady packed up his studio onto a wagon and sent assistants out to the scenes of death and mayhem in the American Civil War, where they photographed aftermath mostly, because dead soldiers didn’t move. They did, however, make images of men posed in bivouacs and other situations where they could hold still for the daguerreotype plates. His crew, which included notables Alexander Gardner and Timothy O’Sullivan, and other period photographers also produced work in 3D for stereoscope viewers. Today we worry about shocking and desensitizing our readers, but back then they delivered the gore in 3D by selling cards in stores. To end this lengthy note, we might say Brady was as much the first photo agent as he was an early photojournalist, running a team of photographers to cover the war. Like Fenton and others of his era, the manipulations of all their images before and after the exposure are legendary. But as I’ve noted here before, ethics evolve. He should be on this list for his innovations. And in an end far too common on this list, he died penniless.

Eadweard Muybridge — Muybridge was as strange as his invented name and certainly not a photojournalist in any classic sense. But his work in settling a bet on whether all four hooves of a horse leave the ground at a gallop make him a seminal documenter of scientific phenomena. Following him one could easily include the likes of electronic flash inventor Dr. Harold Edgerton, obsessive railroad photographer O. Winston Link and photographers of the mechanics of the natural world like Louie Psihoyos or James Balog.

Cameron portrait (left) of Julia Prinsep Jackson, later Julia Stephen, Cameron's niece, favorite subject, and mother of the author Virginia Woolf. "The Red Man" (right) photograph by Gertrude Käsebier

Cameron portrait of Julia Prinsep Jackson, later Julia Stephen, Cameron’s niece, favorite subject, and mother of the author Virginia Woolf.

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“The Red Man” photograph by Gertrude Käsebier

 

 

 

 

 

 

 

 

 

 

 

 

Julia Margaret Cameron and Gertrude Käsebier — History is filled with white men, even though women and other races are innovating alongside the counterparts that have generally held the pens and purse strings. These two women came to photography relatively late in life, and broke gender presumptions to make extraordinary portraits on two sides of the world — Cameron in Britain and Ceylon, and Käsebier in the U.S. Their styles were rich, intimate, personal and beautiful.

 

The iconic ruins in Canyon de Chelly, Ariz., by Timothy O’Sullivan.

Timothy O’Sullivan — This Civil War combat veteran, photographer of Gettysburg and one of Brady’s minions made his own distinct name by making some of the first best images of the American West. His romantic pictures of the mountains and canyons of the frontier arguably fueled western expansion by demystifying the region and romanticizing its beauty. On the other side of the planet a contemporary, John Thomson, was exploring China with a camera, for purposes of documenting the reality of that ancient culture for those back in Europe who could not go there. His images are not only beautiful, but filled with intricate detail and volumes of information. Would have National Geographic existed yet…

 

White Man Runs Him, a Crow scout serving with George Armstrong Custer’s 1876 expeditions against the Sioux and Northern Cheyenne that culminated in the Battle of the Little Bighorn. Edward S. Curtis, c. 1908.

Edward S. Curtis — Curtis, funded with $75,000 by J.P. Morgan in 1906, set out to photograph The North American Indian. Making beautiful portraits of disappearing cultures was the superficial goal, but ethnologists and historians discredit his work for its romanticism over accuracy. Curtis sought the beauty in the subject and amplified it by dressing his subjects in elaborate head dresses and clothing inappropriate to their cultural history. Despite the fictionalized images, the breathtaking collection he made still provides a document of peoples making a transition into the 20th century and humanizes formerly maligned and belittled peoples. His images have echoed not only down the line of documentary portrait photographers, but in the work of fashion greats Irving Penn and Richard Avedon who made loosely real portraits of visually compelling cultures decades later. Curtis had a little-known contemporary who did a much more ethical-in-our-eyes job of it: Frank (Sakae) Matsura, a Japanese photographer who set out to photograph Native Americans in their daily lives then, often dressed in European clothes and struggling to adapt to a foreign culture. Gertrude Käsebier at the same time applied her formidable portrait talents to photographing Native Americans.

 

Immigrant living in Victorian New York, by Jacob Riis.

Jacob Riis and Lewis Hine — Riis started a tradition, continued by Hine twenty years later, of using the camera as a tool to document social injustice and grab at the hearts and minds of readers. As a reporter who used the camera to prove his point, Riis crusaded against immigrant living conditions in New York’s slums. Hine saw the camera as his principal tool, however, and used it to fight against child labor. Riis’ flash powder illuminated dingy dwellings. Hine charmed, conned and cajoled his way into mines and factories to photograph the tiny children working there. The work of both helped change old laws or create new ones to protect underprivileged citizens. Their work has influenced all that followed, from the Photo League to the Farm Security Administration and the photographers of the Civil Rights Movement such as Danny Lyon and Bruce Davidson to any documentary photographer working for social change.

 

Child labor, by Lewis Hine.

To Part 2…

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