Wednesday 30 January 2013

The Photograph as a Document

The Lecture;
The lecture will look at:
  • A short history of documentation photography
  • Images of the working class/poverty
  • Reporting war
  • Photographing other cultures
  • The concept of decisive moment
  • The constructed document, then and now.
William Edwards Kilburn ‘The Great Chartist Meeting At The Common’ 1848
  • His presents is not acknowledged by the people in this picture.
Grahame Clarke quote.
  • no such thing as a nuetral recording.
"How the other half live" Jaboc Riss, 1890 'Bandit's Roost, 59 1/2 Mulberry Street'
  • Being told what to think by the photographer
  • People hanging around on the street
  • The poor moved towards crime is indicated in the image
  • The way they are standing is that they are interested in what Riis was doing
 'A Growler Gang in Session (Robbing a Lush)' Jacob Riis
  • The image is all constructed, this isn't actually happening
  • Got the children to reenact this and paid them with cigarettes
Lewis Hine, Russian steel workers, Homestead, Pa.,1908
  • He would describe himself as a sociological photographer
'Duffer Boy' Lewis Hine, 1909
  • Doesn't attempt to shock the viewer
Margeret Bourke-White 'Sharecroppers Home' 1937
  • Relationship brought up in the image
  • Images not seen as subjective
  • Young man in a sharecroppers home
  • Constructed and lined with newspaper, practical use of materials, generating warmth
  • Contrasting wealthy and more privileged world with the poor, something that is directive.
  • Newspapers represent the American dream.
Russel Lee 'Interior Of A Black Farmers House' 1939
  • No human presents in the image
  • Magazines and newspapers on the wall
  • There is a way of photographing without manipulating the scene

Dorothea Lnge 'Migrant Mother' 1936
  • The mother will children
  • She describes her process, approached the hungry and desperate women
  • Didn't ask her name or history, didn't get involved in the womens situation
  • Treats the women as an object
  • The image becomes everything, more important than the poverty
Walker Evans, Floyd Burroughs (George Gudger), Hale Count, Alabama, 1936
  • Looking at the edge of the image, black lines mean there was no cropping
  • Modernist aesthetic
  • There shouldn't be any editing or manipulation
  • This show that there is a truth about this image
  • Documentary approach of an American style
Bill Brandt 'Northumberland Miner at His Evening Meal' 1937
  • Photographs lots of different people in different classes
  • Not just a document, everything is symbolic
  • Making ordinary lives into a museum culture
  • Distance from the subject
  • 'Northernness'
Robert Frank 'Parade - Hoboken, New Jersey' 1958
  • Outsider looking at the nation
  • Travels through America
  • He is privately funded
  • Has a lot of freedom of expression
  • Redefines documentary
  • Beat poetry
William Klein, St Patrick's Day, Fifth Avenue 1954-55
  • The photographer is involved, in the action
  • Someone is always looking at him in the image
  • His presents is recognised
William Klein, Dance in Brooklyn 1955
  • Gets away from being aesthetically precise
  • Dark view of the children in the image
  • Attempt to redesign the traditional photography
Magnum Group
  • Found in 1947 by Cartier-Bresson and Capa
  • Ethos of Documenting the world and its social problems
  • Internationalism
Henri Cartier Bresson: Magnum
  • Influence of surrealism
  • The subject doesn't know the photographer is there
  • Mystery about the image
The Decisive Moment quote by Cartier-Bresson
  • The photographers signature in the image
  • The moment where the image is captured
Henri Cartier Bresson FRANCE. Paris Place de l'Europe. Gare Sinat Lazare 1932
  • He sees the world as if is is a stage
  • Truth to material
  • There is nothing set up about this image
Robert Capa 'The Falling Soldier' 1939
  • Camera is used as something to document in war
  • The moment of the soldiers death
  • Not the real place were it was photographed
Robert Capa 'Normandy, France '1945'
  • Imply his presence in the water
George Rodger 'Bergen-Belsen Concentration Camp' 1945
  • The way he has photographed the bodies but in a respectful way
  • Keeping the distance from the dead bodies
  • Shows the horror of the situation
  • No exploitation
Lee Miller Buchenwald 1945
  • Shows the people who made it through
  • Showing respect by keeping a distance
Hung Cong Ut 'Accidental Napalm Attack' 1972
  • Descussing the relation of the photographer to the subject
  • Just to document or to intervene?
Robert Haeberle 'People About to be Shot' 1969
  • Gets the image before the people are shot
  • Holt the process to get the emotion
  • The desire to gather that information overrides any social response
Don McCullin 'Shell Shocked Soldier' 1968
  • See how traumatised the soldier is
  • Retreats after these pictures
Documentary constructed: William Neidich 1989
  • Deliberately set something up, showing something that is missing
  • Attempt to rewrite American history
  • Some parts of American history is glossed over
Bruno Barbey 'Left Wing Riot Protesting The Building Of The New Narito Airport, 1972
  • Like an abstract painting
  • Aesthetic rather than being political
Jeremy Deller 'The Battle Of Orgeave' 2001
  • Recreated history
  • Recognisies the political bias, acknowledging the different view point
  • Some of the voices that were not heard

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