Re: [Leica] Images of Africa WAS salgado et al.

[S Dimitrov <sld@earthlink.net>]

Now where we, ah yes, photojournalism.
Somewhere along the way I recall an elephant and Salgado being part of
the discussion. While I didn't keep the past posts on the subject, I
seem to recall that much of it had to do with the photographer off
shore, so to say. 
Matthew Brady was not a photojournalist but a contractor with the War
Dept.. Civil War "media" was as heavily censored as the war with Iraq
was. One didn't get miles near the areas of action unless one was an
approved and trusted shill of the federal government.
As far Lewis Hine is concerned, yes many of his techniques and
methodologies were to be the main staple of what we here in the USA
practice as photojournalism. Roy Strycker, of the FSA, refused to hire
him on a pretext, in spite of his contribution. This is were it gets
sticky, was it because Hine was considered difficult to work with and a
burn-out, or was it because he couldn't be counted on to generate the
"right" product? While sentimentalist academic scholarship opts for the
former, my opinion is for the latter. But that's another discussion, and
in my own opinion, something better served face to face in a more
conducive setting than facing a cathode tube. 
Environmental immediacy is extremely important. As I consider the rest
of the world, while I live in Los Angeles, I find it very difficult to
know what is going on in Pomona or Pico-Rivera. A perceptional
difficulty that I found many of my colleagues in my two avocations,
photography and religious studies, have also been grappling with. 
I don't trust or distrust others on my knowledge of the outside world.
It would presume too much on my part. When a newspaper or magazine from
a month ago can look the same today, or a week from now, it makes
distinctions moot. 
As far as seeing Stonehenge is concerned, yes you saw Stonehenge, but
each time through someone else's eyes. How much did that vicarious
experience have to do with your disappointment? I tell photographers to
"see" in the here and now first where it's familiar. Once they've taken
the road to see for themselves and experience first hand what they
thought was familiar to them, they realize how little they really knew.
At that point real learning starts taking place. Then, it is a different
photographer that walks out there representing us and speaking to us
with their vision. It makes for a less gullible photographer.
All too often in their haste to not miss the boat, to be where the
action his, they often forget that part of their homework. Those burn
outs and never rans I see littered all over the landscape.
HCB, I'll leave for another day, as my irreverence knows no bounds. 
AS far as a lengthy explication of the history of journalism, I think
you can root around as well as the next fellow.

 Slobodan Dimitrov


  "B. D. Colen" wrote:
 
    Say WHAT?!?