Week 11 Discussion

Compare the work of Andre Kertesz and Henri Cartier-Bresson versus the work of Eugene Smith and Sebastio Salgado. They are photojournalist with different approaches.

- What are the main differences and similarities?

The main difference between Andre Kertesz and Henri Cartier-Bresson versus Eugene Smith and Sabasito Salgado is the level they are visible in their photographs. 

Andre Kertesz and Henri Cartier-Bresson both believed they needed to be invisible when taking photos. (Danilovic week 10)

Kertesz is considered a pioneer of photojournalism. He waited until the right moment to capture his image. He could capture a moment by feeling it instead of staging it. He thought that "the subject offered itself to me and I took advantage" (Danilovic week 10). 

1. Andre Kertesz
Arm and Ventilator 

2. Andre Kertesz
People and Shadows

Henri Carter-Bresson is considered a godfather of photojournalism. He believed in not interrupting the scene and having to "approach the subject on tiptoe" (Danilovic week 10)

3. Henri Carter-Bresson
FRANCE. 1932
Paris. Place de l'Europe.
Gare Saint Lazare. 

4. Henri Carter-Bresson
USA. 1947. Fire in Hoboken, facing Manhattan

On the other hand, Eugene Smith and Sabasito Salgado were very visible in their photographs. Smith was known to become close to the subjects of his pictures (Danivolic Week 11). He also would edit his photos in the dark room before he felt they were ready. In his picture, Spanish Wake, Smith adjusted the light so that the audience would see the picture the way he wanted them to, instead of seeing the image that was really captured (Danivolic Week 11). 

5. Eugene Smith
The Walk to Paradise Garden

6. Eugene Smith
Spanish Wake 

Like Eugene Smith, Sebastiao Salgado would interact with the people who were in his photographs. He felt that he had to enter the circle, almost becoming the people he would photograph, so he could better understand the existence of the people (Danivolic Week 11).

7. Sebastiao Salgado
The Refugees: Iraqi Kurdistan

8. Sebastiao Salgado
The Dispossessed

The similarities between the four photographers are that they all captured real life events/moments. After viewing the photos, you can see that no matter how visible/invisible they were in the process, they captured true emotions. 

What’s the better journalistic approach?

The Code of Ethics of the National Press Photographers Association state that photojournalists should respect the integrity of the photographic moment. The long postproduction process, regardless if it is in a dark room or on a computer using Photoshop, is contrary to the basic principles of photojournalism. Photojournalists should also “resist being manipulated by staged photo opportunities”. (Danivolic) Taking this into consideration, we think that Andre Kertesz and Henri Cartier-Bresson have the better journalistic approach.

Kertesz said “I never had to go very far for subjects, they were always on my doorstep. But I can’t analyze it. People ask me how I did it. I don’t know; the event dictated it.” (Danilovic) This quote almost defines what photojournalism is. 


While Smith and Salgado's photographs are very good, they were edited so they show an edited version of the truth. Also, some people might be shy around cameras and not give 100% of themselves and their emotions if they know they're in a photograph, whereas if it's a candid photograph and they didn't know they were in it, their true emotions will show. 




References


Photos:
1. "Arm and Ventilator, New York (Getty Museum) ." The Getty. N.p., n.d. Web. 21 Mar. 2011. <http://www.getty.edu/art/gettyguide/artObjectDetails?artobj=62352>.


2. "Study of People and Shadows, Paris (Getty Museum) ." The Getty. N.p., n.d. Web. 21 Mar. 2011. <http://www.getty.edu/art/gettyguide/artObjectDetails?artobj=62327>.

3 and 4. Henri Cartier - Bresson. (n.d.).Magnum Photos. Retrieved March 19, 2011, from http://www.magnumphotos.com/Archive/C.aspx?VP=XSpecific_MAG.PhotographerDetail_VPage&l1=0&pid=2K7O3R14T1LX&nm=Henri%20Cartier%20-%20Bresson

5 and 6. "W. Eugene Smith." Magnum Photos. N.p., n.d. Web. 21 Mar. 2011. <http://www.magnumphotos.com/Archive/C.aspx?VP=XSpecific_MAG.PhotographerDetail_VPage&l1=0&pid=2K7O3R139C2T&nm=W.%20Eugene%20Smith>.

7 and 8.  "Outcast: Displaced People of the World 3/17/2000." Breaking News, Analysis, Politics, Blogs, News Photos, Video, Tech Reviews - TIME.com. N.p., n.d. Web. 21 Mar. 2011. <http://www.time.com/time/daily/special/photo/salgado/3.html>.

Danvolic, Sandra. Photography: Shooting the Truth, Presentation Week 10

Danvolic, Sandra. Photography: Shooting the Truth, Presentation Week 11 

Photo Journal Part 2

Art Photography

1. Lady Gaga and Kayne West - David LaChapelle 

2. Cameron Diaz - David LaChapelle 

vs.

Press Photography 

USA. 1947. Fire in Hoboken, facing Manhattan.
Henri Cartier-Bresson

FRANCE. 1932.
Paris. Place de l'Europe.
Gare Saint Lazare.
Henri Cartier-Bresson

I think the two press photographs and the two art photographs I chose are completely different from each other. In the two art photographs by David LaChapelle, you can tell that the photographer planned the shoot and that he is highly visible. In the two press photographs by Henri Cartier-Bresson, you can tell that these photographs weren’t planned and the photographer is invisible. In the art photos, especially the one with Lady Gaga and Kayne West, you can guess that this photo was definitely edited after the picture was taken (the volcano in the background and Kayne West’s eyes), whereas the press photographs look unedited.

Charles Caffin said “There are two distinct roads in photography – the utilitarian and the aesthetic: the goal of one being a record of facts, and the other an expression of beauty” (Danilovic). I think art photography is an expression of beauty, and it’s supposed to be enjoyed for what it is. Therefore, I think it’s ethical and acceptable to alter art photographs. Art photographers may have an image in their mind that they want to capture, and since their photograph will be used as an expression of beauty, I think it’s okay for the photographer to edit the photo after the picture is taken to make it into the image they imagined.

As Charles Caffin says in the quote above, I think the goal of press photography is to record facts. Andre Kertesz and Henri Cartier-Bresson both thought they needed to be invisible when taking photos (Danivolic). I completely agree that a photojournalist should be invisible when taking photos and for that reason I think it is not ethical or acceptable to alter press photographs. By altering press photographs you are removing the truth behind the photo. If the photographer stages the shot, or changes parts of the photo (such as lighting) to pull the eye to a certain part of the picture, the photo is no longer showing the truth because it has been manipulated to draw your eye to what the photographer wanted you to see instead of seeing exactly what the situation was.

References:

Danivolic, Sandra "Shooting the Truth" Week 4

Danivolic, Sandra "Shooting the Truth" Week 10 

Pictures:

1. LaChapelle Studio - Portraits - Lady Gaga. (n.d.). LaChapelle Studio. Retrieved March 19, 2011, from http://www.lachapellestudio.com/portraits/lady-gaga/?ci=112 

2. LaChapelle Studio - Portraits - Cameron Diaz. (n.d.).LaChapelle Studio. Retrieved March 19, 2011, from http://www.lachapellestudio.com/celebrities/cameron-diaz/?ci=27

3 and 4. Henri Cartier - Bresson. (n.d.).Magnum Photos. Retrieved March 19, 2011, from http://www.magnumphotos.com/Archive/C.aspx?VP=XSpecific_MAG.PhotographerDetail_VPage&l1=0&pid=2K7O3R14T1LX&nm=Henri%20Cartier%20-%20Bresson