A2 Photography Blog: November 2010

Monday 8 November 2010

Yousuf Karsh

Karsh was a master of studio lights. One of Karsh's distinctive practices was lighting the subject's hands separately. He photographed many of the great and celebrated personalities of his generation. Throughout most of his career he used the 8×10 bellows Calumet camera, made circa 1940 in Chicago. Journalist George Perry wrote in the British paper The Sunday Times that "when the famous start thinking of immortality, they call for Karsh of Ottawa."

Karsh had a gift for capturing the essence of his subject in the instant of his portrait. As Karsh wrote of his own work in Karsh Portfolio in 1967, "Within every man and woman a secret is hidden, and as a photographer it is my task to reveal it if I can. The revelation, if it comes at all, will come in a small fraction of a second with an unconscious gesture, a gleam of the eye, a brief lifting of the mask that all humans wear to conceal their innermost selves from the world. In that fleeting interval of opportunity the photographer must act or lose his prize."

Karsh said "My chief joy is to photograph the great in heart, in mind, and in spirit, whether they be famous or humble." His work is in permanent collections of the National Gallery of Canada, New York's Museum of Modern Art and Metropolitan Museum of Art, George Eastman House International Museum of Photography and Film, Bibliotheque nationale de France, the National Portrait Gallery in London, the National Portrait Gallery of Australia and many others. Library and Archives Canada holds his complete collection, including negatives, prints and documents. His photographic equipment was donated to the Canada Science and Technology Museum in Ottawa.

Karsh published 15 books of his photographs, which include brief descriptions of the sessions, during which he would ask questions and talk with his subjects to relax them as he composed the portrait. Some famous subjects photographed by Karsh were Field Marshal Lord Alanbrooke, Muhammad Ali, Marian Anderson, W. H. Auden, Joan Baez, Zulfiqar Ali Bhutto, Humphrey Bogart, Alexander Calder, Pablo Casals, Fidel Castro, Madame Chiang Kai-Shek, Joan Crawford, Ruth Draper, Albert Einstein, Dwight Eisenhower, Princess Elizabeth, Robert Frost, Clark Gable, Indira Gandhi, Grey Owl, Ernest Hemingway, Audrey Hepburn, Pope John Paul II, Chuck Jones, Carl Jung, Helen Keller and Polly Thompson, Grace Kelly, Jacqueline Kennedy, John F. Kennedy, Peter Lorre, Pandit Nehru, Georgia O'Keeffe, Laurence Olivier, General Pershing, Pablo Picasso, Pope Pius XII, Prince Rainier of Monaco, Paul Robeson, the rock band Rush, Albert Schweitzer, George Bernard Shaw, Jean Sibelius, Pierre Elliott Trudeau, Andy Warhol, Frank Lloyd Wright, and, arguably his most famous portrait subject, Winston Churchill.

The story is often told of how Karsh created his famous portrait of Churchill during the early years of World War II. Churchill, the British prime minister, had just addressed the Canadian Parliament and Karsh was there to record one of the century's great leaders. "He was in no mood for portraiture and two minutes were all that he would allow me as he passed from the House of Commons chamber to an anteroom," Karsh wrote in Faces of Our Time. "Two niggardly minutes in which I must try to put on film a man who had already written or inspired a library of books, baffled all his biographers, filled the world with his fame, and me, on this occasion, with dread."

Churchill marched into the room scowling, "regarding my camera as he might regard the German enemy." His expression suited Karsh perfectly, but the cigar stuck between his teeth seemed incompatible with such a solemn and formal occasion. "Instinctively, I removed the cigar. At this the Churchillian scowl deepened, the head was thrust forward belligerently, and the hand placed on the hip in an attitude of anger."

The image captured Churchill and the Britain of the time perfectly — defiant and unconquerable. Churchill later said to him, "You can even make a roaring lion stand still to be photographed." As such, Karsh titled the photograph, The Roaring Lion.

However, Karsh's favourite photograph was the one taken immediately after this one where Churchill's mood had lightened considerably and is shown much in the same pose, but smiling.

Robert Capa Photographer - Research

Robert Capa: Born Endre Ernő Friedmann, was a Hungarian combat photographer and photo journalist who covered five different wars: the Spanish Civil War, the Second Sino-Japanese War, World War II across Europe, the 1948 Arab-Israeli War, and the First Indochina War. He documented the course of World War II in London, North Africa, Italy, the Battle of Normandy on Omaha Beach and the liberation of Paris. His action photographs, such as those taken during the 1944 Normandy invasion, portray the violence of war with unique impact. In 1947, Capa co-founded Magnum Photos with, among others, the French photographer Henri Cartier-Bresson. The organization was the first cooperative agency for worldwide freelance photographers.

How Film Works...

Inside the photographic emulsion are millions of light-sensitive silver halide crystals. each is a compound of silver plus a halogen (such as bromide, iodine or chlorine) held together in a cubical arrangement by electrical attraction. when the crystal is struck with light, free-moving silver ions build up a small collection of uncharged atoms. These small bits of silver, too small to even be visible under a microscope, are the beginning of a latent image. developing chemicals use the latent image specks to build up a up density, an accumulation of enough metallic silver to create a visible image

David Bailey Photography - Research

(David Bailey)

Professional life:

In 1959 he became a photographic assistant at the John French studio, and in May 1960, he was a photographer for John Cole's Studio Five before being contracted as a fashion photographer for British Vogue magazine later that year. He also undertook a large amount of freelance work.

Along with Terence Donovan and Brian Duffy, he captured and helped create the 'Swinging London' of the 1960s: a culture of high fashion and celebrity chic. The three photographers socialised with actors, musicians and royalty, and found themselves elevated to celebrity status. Together, they were the first real celebrity photographers. The film Blowup (1966), directed by Michelangelo Antonioni, concerns the work and sexual habits of a London fashion photographer played by David Hemmings and is largely based on Bailey.