Posts Tagged Jacob Riis

The Heyday is Now

Pastor Odair Gomes, 34, of the Deus É Amor church in Rio de Janeiro, addresses his congregation during an evening service at the church. Gomes is responsible for the State of Rio de Janeiro and oversees more than 600 churches. © Kevin Moloney, 1995

Pastor Odair Gomes, 34, of the Deus É Amor church in Rio de Janeiro, addresses his congregation during an evening service at the church. Gomes is responsible for the State of Rio de Janeiro and oversees more than 600 churches. © Kevin Moloney, 1995

This is a sermon, so feel free to mutter an occasional amen or shout a hallelujah. And like any congregation of believers, you probably already know some of the things I’m going to say. But we are here to reinvigorate our faith, so please be seated while I take the pulpit, thump the mic and clear my throat.

You are living in the best time in history to be a photojournalist.

It may not seem like it considering the ever-present industry bad news. (Yeah, I just heard you mutter, “this guy is nuts.”) Old media is in trouble. New media is thrashing around for an economic model for news. Dayrates have been stagnant for a decade. Rights are being grabbed. Amateurs with cell phones are covering breaking news. Journalism jobs are going away. And this week Eastman Kodak slid closer to bankruptcy. But Horace Greeley, a 19th-century journalist and inveterate forward thinker once wrote, “The illusion that times that were are better than those that are, has probably pervaded all ages.”

So what makes now so great?

On way to an assignment. © Kevin Moloney, 2011

On way to an assignment. © Kevin Moloney, 2011

To start, you have an enormous array of tool choices. For a recent New York Times shoot I eagerly packed in my bag a vintage-1948 press camera, a medium-format TLR and a DSLR. I used all three on the shoot, swapping sheet-film holders, cranking 120 through a Rolleiflex and twitching images through the pixel array of the little high-tech wonder alongside them.

We are now deep enough into the digital age that the quality of that equipment has reached heights we could have only imagined a few years ago. And with the recent and expected announcements of new gear from the big digital players, we are in for astounding advancements this year.

But we also have the entire world of film cameras to use, with all those delicious differences in look, point of view, depth of field and other things that make various cameras see the world differently. As Kevin Kelly, author of the book What Technology Wants, recently told NPR,“I say there is no species of technology that have ever gone globally extinct on this planet.” Today we can still use pretty much all of the photographic technology ever invented.

Yes, you can buy color transparency films in 620 and 127 sizes (hand-cut and rolled by a few dedicated souls) and new single-use, screw-base flash bulbs (from Ireland), if you’re willing to pay the price. Online you can buy kits to make cyanotypes, argyrotypes and kallitypes. You can buy the chemicals to mix any developer formula concocted or to embrace the silvery glow of a daguerreotype. “Everything that we have made in the past,” said Kelly, “is still being made somewhere in the world today.” And it is available to us thanks to the reach of the very same Internet that has upended our old business models.

In some areas there is even expansion. More black and white films are available now than there were in 1990. With their manufacturers out from under iron curtains or no longer forced to compete for shelf space with the big three film makers, more than a dozen brands of monochrome film are readily available. Some have been made in Eastern and Central Europe for decades.

     Snapshot. 1933 camera. © Kevin Moloney, 2008Wednesday, May 14, 2008.


Snapshot. 1933 camera. © Kevin Moloney, 2008

My favorite leisure camera of the moment is a folding Kodak/Nagel Vollenda 48 from the 1930s. It takes 127 film (thank you, Croatia) and gives everything at which it is aimed the feel of the decade in which the camera was made. It took the place of a digital point-and-shoot in my pocket. I love all of that variety. Sure, about all of it can be modeled with good digital technique, but art is in the process, not just the product.

And the latest round of digital technology has brought us fantastic ISO capability that will probably reach a usable six digits before we can say “existing light in a coal mine.” We now have rich color even on the extremes of exposure and more dynamic range than I could have dreamed a decade ago. Remember all those color correction filters we used to have to carry around just to get accurate color? Now they’re a button and knob on the camera or two sliders in your raw conversion software. Soon enough we may see professional light-field cameras that allow focus correction in post-production.

In an advancement that would make filmmaker/photographers like Robert Frank, William Klein, Raymond Depardon and Tim Hetherington jealous, we now have HD video available in our camera bodies with a sensor twice the size of high-end cinema film. The once high cost of entry into documentary film production has just dropped faster than one of Herman Cain‘s shoes.

1948 camera, 1927 lens. © Kevin Moloney, 2011

1948 camera, 1927 lens. © Kevin Moloney, 2011

The learning curve has become impossibly short as we can experiment furiously and see the result immediately. The digital age also means unprecedented speed of delivery. In the decade some have called the heyday of photojournalism — the 1980s — to get an image from a revolution in Iran meant sweet-talking a diplomat or a traveler into carrying your film on a flight from Tehran to Paris or New York. It was days from event to publication. Now with a satellite phone and a tablet computer a photojournalist can publish from Libya a split second after the image is made.

Combine the incredible power of digital photography with the variety of analog and you can do anything.

But what about that business model? Indeed the methods we’ve used for a century to make a living seem to be going away. They’re not dead yet, though, and that gives us time to transition and reinvent how photojournalists live on their good work. Almost a century ago a few business-minded photographers and a few German magazine editors created the freelance model we’ve used so far. They created that out of a vacuum that we don’t face.

Pieces of the solution for an economic puzzle are popping up all the time. In my 25-year career I’ve spent haystacks of money chasing personal projects that at best have returned break-even cash. We are driven to document whether we have a patron or not, and in the past that was just one of the costs of doing business. But now thanks to the Internet-made idea of crowdfunding a good project can have hundreds of patrons who may not only cover the cost of field production but also provide a little financial breathing room. Pay close attention to Emphas.is, Kisckstarter and IndieGoGo to see where that leads. Watch how photographers, agencies and collectives  like LUCEO Images repurpose work for alternative venues and media, and then both make money and market themselves in the process. Frankly, you have it much easier than Jacob Riis did.

Keep your eyes on other media for answers as well. For example the music industry is in the grips of an economic chaos that looks remarkably like what the news media has been facing — loss of markets, lack of control over the means of distribution, ease of amateur production and distribution, and the free and open spreading of their product. Out of that, musician and entrepreneur Trent Reznor has figured out how to make piles of money from giving away most of his music. It’s the Nine-Inch Nail meets the Long Tail.

Like for Reznor, the Internet’s reach is a valuable tool for photographers to sell their work. Once forced to use agents and portfolio reps to market themselves, we now have — for better and for worse — the unfiltered channel of the Internet to find new buyers, collectors and clients. It is a crowded market out there to be sure. Everyone wields a camera, thinks they are brilliant and shares their images for free with everyone. But competition forces us to think harder, work harder and be better image makers to rise above all that noise. And this is not a new phenomenon.

When in 1888 George Eastman put the first point-and-shoot camera into the hands of the public, professional photographers across the land surely panicked about the loss of their businesses. But that and its cheap offspring, the Brownie camera, helped launch a century of stunning photography. Why should we be afraid of all the dilettantes? As photo blogger Jörg Colberg aptly put it, “Isn’t it funny that you never hear writers worry about the fact that everybody knows how to write?”

So here’s the most important fact to remember: Rather than killing the professional photographer, early 20th-century advancements allowed professionals to reinvent the art itself. In 1914 Oskar Barnack put some cine film in a new little camera he crafted in his workshop and the age of 35mm photography was born. Innovators like Kertész, Cartier-Bresson, Capa and Eisenstaedt were more than great photographers. They were revolutionaries who picked up surprising new “amateur” equipment, filled it with fast new films and revolutionized the way we see the world.

This is that moment all over again, where new and innovative technology in brilliant hands will change the paradigm. Like me you’ve daydreamed about shooting alongside the likes of those guys in the last paragraph and helping to redefine what photojournalism would be for a century. But this is your time, and you have the opportunity to upend everything just like they did.

Seize it. Foment revolution. Change the history of our art and our profession.

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This post is a reworking of a presentation I gave at the 2011 edition of APAD’s Geekfest in Denver, and an article published in the excellent January/February issue of Photo Technique magazine.

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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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