(1908-2004)
A photographer must be ready to pounce. To catch a moment that if taken a second too early or late, can loosen the image and make it less powerful. Henri Cartier-Bresson was a serrealist - strongly believing there was a super reality behind the photo being taken and in the photographic world, and was seen as the Godfather of The Desisive Moment - when a subject shows an interesting expression, when an animal conveys a special look, or when the light becomes its most dramatic. The Godfather as he was known, often sat for hours looking for this exact moment, with one of his most famous pieces being shown below. I found the image to the left intriguing, as it shows a natural and casual pose - something that was found in Cartier-Bresson's work, work that is often not read as forced. There is also a strong feeling that he wanted his subjects to be relaxed as possible, connecting with them to create a stronger result. Some critics however accused him of being nothing more than a snap-shooter. It is true in saying that the approach he used; in less disciplined hands, can cause a weaker result - but the best of Cartier-Bresson’s work; with it's timing, strict organization, and connection with human and landscape, could not result with what it did on luck alone.
The image to the left is considered one of the most powerful shots of the 20th century. Critics have slammed this as a snap shot which used the factor of luck to produce, however an image like this wouldn't of been easily staged - the subjects such as the ripped tire and man jumping over the puddle create a random but strong piece, keeping Cartier-Bresson's relaxed trend that is too casual to be staged.Without a camera, the artist would of been nothing. The Leica camera, first made in Germany in 1925, was a considerable push in technology as the photographer was now able to see more precisely at his subject/s. Before hand, the photographer would have to use both eyes to see through the lens - now, Cartier-Bresson could see his whole scene and be quicker in reaction, something that was needed in his work. Cartier-Bresson remained devoted to the 35mm camera throughout his photographic career.
Eddie Adams
(1933 – 2004) The award-winning photographer was most recognised for his piece, The Execution. It shows a Vietnam General executing a Viet Cong prisoner at the exact moment the bullet hit the man's head. Adams went on to to win the Pulitzer Price because of this image, which I find to be extremely powerful, something that is etched into your mind and never becomes less powerful - unlike the T.V clip. The execution was filmed and appeared on television the same evening, and although horrific when first watched, if viewed over again I feel the shock would be considerably less, however the photo is a freeze frame of that saddening moment and sticks in your mind.
When the general was asked about whether this was a routine procedure, he replied 'General Wong does it all the time." To add salt to the wound, the man was executed on the spot without a trial, with Americans trying to portray the man as evil and someone who deserved the injustice - when infact it was the inforcers who were going through with such sly acts.
(1913-1954)
As you look at a photograph, you can believe this to be the truth - it has not been painted, it is a snippet of a particular moment that will never be captured again. However, photojournalism does not always give the whole story - you need context. And you need history. With an image there must be 'evidence' to back up this 'truth'.
When interviewed fairly recently, a friend of Cappa commented on his fantastic approach to journalism, however did not mention his photographic skills. He believed there were two rules when photographing war - get closer and get closer. Evidentally these rules worked to an advantage as Cappa is known as one of the greatest war photographers of the 20th century. One of his most powerful images was the Spanish soldier at the exact moment he was shot down, shown above. A perfect example of a decisive moment, as a second before or after would of lost that spark the photograph shows.
Although Cappa was never an enrolled soldier in World War 2, he was often right at the centre of conflict. D-Day, Cappa and a million other men took wave on Ohama Beach. When returning, he had with him a collection of rolls, however nearly all were ruined whilst being developed - all except 11 photo's, now looked upon as the most famous war photo's. People began to realise war photo's show more than meets the eye, reverting back to needing history and context. Cappa was also noted for saying "war is romantic" - whereas Tony Vaccoro strongly disagree's with that statement.
Tony Vaccoro
(1922 -) Unlike Cappa, Vaccoro was not as massively recognised for his photography as he was a working soldier in WW2. Aswell as taking the photo's and witnessing the carnage, he had to fight the enemy. With a 35mm camera in hand (he could not afford a Leica), Tony Vaccoro's work is also recognised for it's desisive moment approach, which one piece showing a German soldier burning to death. In an interview the photographer and soldier stated "As he was laying there, he kept on screaming Mutter (mother) as I was taking the photo." I could sense sadness in his tone and suspect Vaccoro must of had an overflow of emotion when taking an image such as that.
No comments:
Post a Comment