On Being a Photographer, 3Rd Edition
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Photography/Photojournalism $12.95 USD Revised – Third Edition! “A photographer might forget his camera and live to tell the ON BEING A PHOTOGRAPHER tale. But no photographer who survives has ever forgotten the lessons in this book. It is not just essential reading, it’s compulsory.” DAVID HURN/Magnum Daniel Meadows Head of Photojournalism, Center for Journalism Studies, in conversation with University of Wales “A very useful book. It discusses issues which will benefit all BILL JAY photographers irrespective of type, age or experience – and it does so in a clear and interesting manner. I recommend it.” Van Deren Coke past Director of the International Museum of Photography and author of The Painter and the Photograph “I read On Being a Photographer in one sitting. This is an invaluable book for its historical and aesthetic references as well as David’s words, which go to the heart of every committed David Hurn/ on being photographer – from the heart of a great photographer. It is inspiring.” Frank Hoy Associate Professor, Visual Journalism, The Walter Cronkite School Magnum a of Journalism and Telecommunication, Arizona State University “We all take photographs but few of us are photographers. On Being a Photographer talks clearly and cogently about the difference … and Bill Jay photog- the book is rich in practical detail about how to practice as a photographer and to create worthwhile pictures.” Barry Lane past-Director of Photography at the Arts Council of Great Britain and presently Secretary-General rapher of The Royal Photographic Society of Great Britain L “This thoughtful and provocative discussion of modern ens photojournalistic practice is an invaluable addition to the literature W of photography.” ork Michael Carlebach Professor, School of Communication, Publishing ISBN 1-888803-06-1 University of Miami 51295 and author of A PRACTICAL GUIDE The Origins of Photojournalism in America EAN 9 781888 803068 ON BEING A PHOTOGRAPHER ON BEING A PHOTOGRAPHER ■ A Practical Guide ■ David Hurn/Magnum in conversation with Bill Jay L ensWork PUBLISHING 2001 We should like to place on record our gratitude, admiration and respect for all those fi ne photographers who have given so generously of their thinking, time and talent — and especially their images — to further our quest for an understanding of the medium’s basic working principles. Many of these individuals are mentioned in the text but a complete list would fi ll this book. Our grateful thanks, also, to Jo Ann Briseño, a specialist in the World Wide Web, who took the time and patience to process our notes into a presentable and publishable form. Copyright © 1997, 2001 Bill Jay and David Hurn All rights reserved. No part of this book may be reproduced in any form or by any electronic or mechanical means, including information storage and retrieval systems, without written permission in writing from the authors, except by a reviewer, who may quote brief passages in a review. First Printing, November 1997 Second Printing, December 1998 Third Edition, September 2001 ISBN #1-888803-06-1 Library of Congress Catalog Card Number : 97-075635 Published by LensWork Publishing, 909 Third Street, Anacortes, WA, 98221-1502 USA Printed in the United States of America CONTENTS INTRODUCTION...................................................................... 7 ABOUT THE PHOTOGRAPHER: DAVID HURN .......................... 8 SOME DEFINITIONS.............................................................. 23 SELECTING A SUBJECT.......................................................... 28 SHOOTING THE SINGLE PICTURE .......................................... 37 CREATING CONTACTS.......................................................... 47 THE PICTURE ESSAY ............................................................ 55 CAMERAS, SHOES AND OTHER ESSENTIALS .......................... 62 THE FUTURE OF PHOTOGRAPHY .......................................... 72 SOME PHOTOGRAPHIC MYTHS............................................. 84 ABOUT THE AUTHORS ......................................................... 96 INTRODUCTION • 7 INTRODUCTION This conversation celebrates 30 years of friend- heard it, was impressed by the clarity of think- ship and of a continuous, and continuing, ing, and adopted it — then adapted it, made dialogue about photography. rearrangements, added new images and ideas and gave it publicly with the original lecturer We have attempted to summarize our agree- in the audience. He picked up on the adapta- ments on what we consider the fundamental tions, modifi ed them and gave another lecture. characteristics of the medium and how they The other one used his modifi cations which can be employed by photographers for more suggested other images and ideas… and so it effective growth as image-makers and as has continued. Today, it would be diffi cult to human beings. separate the genesis of any of the ideas, issues or images! This is not to imply that we agree on In that sense this is a how-to-do-it book, everything. Nevertheless, we have emphasized although it is not about technology or processes. our agreements in the belief that they are It is a book on how to think and act like a photog- more likely to provide practical solutions for rapher, culled from practical experience and photographers. from the lives of many fi ne photographers of the past and present. We have concentrated on the In order to provide the basic text for this book common denominators in these approaches to we taped 12 hours of conversation, which were the medium in order to discover basic principles supplemented by published writings by both which can be employed by all photographers in of us, letters back and forth, and a discussion of whatever band of the photographic spectrum the fi rst drafts. We offer the conversation in the they reside. hope and conviction that photographers can lead lives more charged with meaning through Because our conversations have been so volu- the application of these principles. minous over such a long period of time it is impossible to differentiate who said what, and True, this is a book about photography — but when. Our opinions, attitudes and ways of photography is about life. We both agree with thinking, although originating from widely the psychologist Abraham Maslow that the different perspectives — David’s from profes- purpose of life is to become actually what we sional practice, Bill’s from history and criticism are potentially. We believe photography offers — merge into a seamless whole. One example an ideal vehicle towards this destination. will illustrate how this happens. David Hurn Many years ago, one of us gave a lecture on Bill Jay 1996 “What is Photography?” [David: it was me. Bill: yeah, yeah, I know it was]; the other one 8 • ON BEING A PHOTOGRAPHER: BILL JAY & DAVID HURN ABOUT THE PHOTOGRAPHER DAVID HURN Thirty years ago I fi rst showed David Hurn my step issues which are always present in the photographs, the results of more than seven medium, but rarely discussed. years of struggle to be a photographer. It took him about 30 seconds to look through the lot Perhaps I should be equally direct with the and deliver his judgment: boring. “Derivative,” reader. David Hurn, like any other great pho- he said. “You won’t make it.” tographer, has an agenda which is not at all hidden. He believes passionately in a particular We have been friends ever since. approach to the medium — his approach. He advocates a very specifi c way of thinking and And he has continued to be my goad, my working as a photographer because he has com- conscience, my adviser and, best of all, my mitted his professional life to a singular band fiercest critic. Do you know how rare, how of the photographic spectrum, what he would valuable, is such a friend, whose devastating call reportage, or eye-witness photography. It frankness is wholly welcome because it is is therefore fair to ask: just how relevant is this abundantly evident that such criticism taps the book to photographers who intend to reside in wellsprings of love and not competitiveness, any one of the other multi-hued bands of the petty jealousies or self-aggrandizement? spectrum which together make up the medium we call photography? Of course, I do not always agree with his opinions or follow his advice and, even here, in I would assert its relevance and usefulness to the spurning of his best intentions, David Hurn all photographers for many reasons, among is supportive, as if to say: “He asked for my which would include: the importance of clear opinion; I gave it my best shot; but the decision thinking in developing an intellectual rationale is his to make.” for any method of working; the emphasis that the subject, the thing itself, is the genesis of I tell you these facts, and will relate the circum- all types of photography; the insistence that a stances of our fi rst meetings, because David clarity of vision is aided by clarity of mind; the Hurn’s candor permeates these pages. Nowhere greater appreciation of other photographers’ else that I know of will photographers meet work which comes from understanding their in print a mentor who can or will speak with philosophical underpinnings (even photogra- such directness and relevancy to the step-by- phers are viewers of photographs as much as ABOUT THE PHOTOGRAPHER: DAVID HURN • 9 takers and makers); the assertion that human- dogs which accompanied him on his photo- ism is inseparable from art, however defi ned graphic expeditions around Wales. or created; the demonstration that there is no substitute, in any endeavor, for commitment Tintern is rooted in the distant past. Its pasto- and hard work. ral sleepy beauty clashes with the raucous machines driven through its narrow main Nevertheless, it is true that David Hurn’s street; old sheep farmers live cheek-by-jowl commentary will be of special relevance to with artists and stockbrokers; weathered stone photographers who believe that there is no cottages built by manual labor now house fax greater thrill or satisfaction (or frustration) than machines and computers; it is a place called confronting people and places, and, from that home and a tourist mecca.