Документальная фотография — Википедия. Что такое Документальная фотография

Документальная фотография — направление фотографии, художественная программа которого ориентирована на изображение достоверного. Центральная идея документальной фотографии — обращение к реальным событиям. В некоторых случаях документальная фотография формируется как обращение или призыв и подразумевает создание фотографического документа.

По мнению Сьюзен Зонтаг: документальная фотография — важный художественный прецедент, где профессионализм и многолетняя практика не гарантируют безусловного преимущества перед спонтанным и случайным. Отчасти потому, что важное значение в документалистике приобретает стечение обстоятельств, которое поддерживает несовершенное как изобразительный принцип^[1]. В своей книге «О фотографии» Сюзан Зонтаг обращала внимание на идеологический аспект документальной фотографии даже в тех случаях, когда целью кадра является объективность. В частности, Зонтаг считала снимки Уолкера Эванса и Доротеи Ланж попыткой тенденциозного изображения событий Великой Депрессии и способом формирования художественного вектора посредством акцентирования драматического начала^[2].

История

Шарль Нэгр, Уличные музыканты на набережной Бурбон, 1853.

Появление документальной фотографии принято связывать с изобретением фотографического процесса: в XIX веке было распространено мнение, что снимок документален по своей природе. Появление фотодокументалистики соотносят с именами Ньепса, Дагера и Тальбо полагая, что идея изображения окружающего мира может быть соотнесена с принципом документального. Как форма обращения к событиям повседневной жизни документальная фотография появляется в середине XIX столетия. Наиболее известный пример ранней документальной фотографии — снимки Шарля Нэгра^[3], сделанные на улицах Парижа в 1850-е годы^[4].

Развитие документальной фотографии XIX века происходило на фоне нескольких военных конфликтов — Крымская война, Гражданская война в США, Франко-прусская война: фотография стала способом создания картины войны. Одна из проблем, с которой столкнулись фотографы — противоречие между документальным и художественным^[5]. Подлинная картина военных действий не соответствовала мифу о живописном, величественном или возвышенном ^[5]. И наоборот — глубокий трагический образ войны часто был результатом не документальной, а постановочной съемки^[6]. С этой проблемой столкнулись такие фотографы Мэтью Брэди, Тимоти О’Салливан и Роджер Фентон.

В середине XIX — начале XX веков развитие документальной фотографии было связано с социальными движениями и отчасти продиктовано ими. Документальная фотография XIX столетия — это альбомы и публикации посвященные бедственной жизни городских улиц. К этой форме документальной фотографии относятся, в частности, работы Якоба Рииса^[7], Джона Томсона^[8], а чуть позже — Льюиса Хайна, который изображал катастрофические условия городского быта и труда. Якоб Риис был фотографом, активно выступавшим за социальные реформы — фотография стала для него инструментом общественного призыва и формой социальной критики. Его книга How the Other Half Lives^[en] 1890 года рассказывала о жизни нью-йоркских трущоб и оказалась важным явлением не только фотографического, но и социального движения.

Первая половина XX века обозначила понимание социального и критического предназначения фотографии.

Документальная фотография как самостоятельный жанр

В первые десятилетия XX века документальная стратегия была оценена как часть специфической художественной программы ^[5]. Отчасти, эта идея была реализована в рамках деятельности Группы F/64 и в системе фотографии Нового ви́дения^[9].

Последствия глобального экономического кризиса в США, ставит правительство Америки под руководством президента Франклина Рузвельта перед необходимостью всеобъемлющих социальных реформ, известных в истории как Новый курс Рузвельта. В этой связи, одной из важнейших задач правительства была необходимость заручиться поддержкой у широкой массы населения США для проведения намеченной политики реформ. В 1935 году от администрации по переселению (позднее переименовано в Farm Security Administration^[en], FSA) фотографы получают заказ на создание крупномасштабной фотографической документации сельской жизни в Америке. Задачей фотографов было достойно и эстетично запечатлеть обедневшего сельского жителя Соединенных Штатов, избегая при этом художественности в своих работах. Этот новый жанр фотографии был назван «документальной фотографией»^[10].

Ранняя документальная фотография в Германии

К числу наиболее примечательных фотографов XIX века можно отнести немецкого фотографа Августа Зандера. Его работа «Люди XX столетия» оказала влияние в равной степени как на художественную систему, так и на документальную фотографию в Европе. Работы Августа Зандера соединили в себе элементы прямой и постановочной фотографии, открыв новый способ видения в фотографии XX века. Работы Августа Зандера часто являются предметом исследования как самостоятельный художественный прецедент.

Документальная фотография после 1945 года

Окончание второй мировой войны ознаменовало непростой период в документальной фотографии. Все значительные фотографы-документалисты послевоенного времени: Диана Арбус, Роберт Франк, Юджин Смит, Мэри Эллен Марк, Уильям Кляйн либо существовали как одиночки, либо были вынуждены подрабатывать в роли поставщиков историй для больших иллюстрированных журналов, таких как Life. Журналы находят все меньше и меньше места для документальной фотографии и авторов с политически независимой позицией.

Изменились требования к материалам в средствах массовой информации: изображения должны быть актуальным, ярким и запоминающимся. Публикации развернутых историй, в свою очередь, были вытеснены публикациями небольшого объёма с одной или двумя фотографиями. Документальная фотография уступила место фотожурналистике^[11], а фотографии авторов-документалистов можно чаще увидеть в галерейном пространстве, в музеях, в книгах и фотоальбомах, чем в журнальных изданиях.

Осознание, особенно в период Вьетнамской войны того факта, что политические организации способны использовать фотографию как оружие в преследовании своих задач, приводит к усложнению пути фотографии в печать. Правительство напрямую вмешивается в редакционный процесс освещения военных конфликтов вплоть до прикомандирования журналистов к военным частям.

Книга Американцы и выставка Новые документы

Важным этапом документальной фотографии стало появление в 1959 году книги Роберта Франка Американцы^[12] (The Americans^[en]), которая, в свою очередь, была идеологическим продолжением проекта Уолкера Эванса Американские фотографии (The American Photographs)^[13]. Американцы задали новый стандарт документальной фотографии — не столько критический, сколько лирический и поэтический. Американцы были связаны не с формальными событиями, а с последовательным течением повседневной жизни.

Этапным проектом в системе документальной фотографии стала выставка Новые документы, состоявшаяся в Музее современного искусства в Нью-Йорке в 1967 году и представившая фотографии Дианы Арбус, Лии Фридлендера и Гарри Виногранда. Новые документы стали способом верификации художественного статуса документальной фотографии и сыграли решающую роль в ее распространении как устойчивого жанра. Новые документы позиционировани фотографию как прецедент общественной системы и форму социальной ответственности. В то же время, они подвели своеобразный итог изобразительной документалистики, став завершающим проектом классической документальной фотографии.

Новая история

Начало нового тысячелетия знаменует переломный момент в отношении к документальной фотографии. Музеи и научные учреждения переосмысливают и придают новое значение и документальной силе фотографи^{[источник не указан 210 дней]}и. Летом 2009 года выставка документальной фотографии 1920-х — 1930-х годов прошла в Музее Людвига в Будапеште. Также в 2009 году при поддержке фотографа и куратора и Jorge Ribalta в Музее современного искусства (Барселона) состоялась ретроспективная выставка документальной фотографии XX века «Универсальный Архив». В 2010 году в Музее королевы Софии в Мадриде состоялась международная конференция посвященная проблемам документальной фотографии.

Мануэль Ривера-Ортис — один из наиболее известных современных молодых документалистов. Главная тема его работ — условия жизни людей в развивающихся странах. Ривера Ортис вырос в нищете в сельских районах Пуэрто-Рико 1970-х годов. Он характеризует своё исследование как праздник жизни (A Celebration of Life) в нищете.^{[источник не указан 210 дней]}

Критика документального метода

В 1970-е — 1980-е годы документальная фотография стала объектом последовательной критики. Два наиболее известных прецедента — работы Сьюзан Зонтаг и Алана Секулы^[14]. Оба автора обращали внимание на неизбежный постановочный характер документальных кадров^[15], а также подняли вопрос об этической состоятельности документальной фотографии^[16]. Они обратили внимание, что документальная фотография становится способом психологического давления и спекуляции, используется как инструмент эмоциональной манипуляции, построенный на чужих страданиях. Наиболее известный эпизод — критика в адрес работ Себастьяна Салгаду, которого Сьюзан Зонтаг фактически обвиняла в этических спекуляциях^[17]. Критики фотографического документализма обращали внимание на то, что документальные кадры не поддерживают гуманистическое начало, нарушают его и приводят к его разрушению^[18]. Негативная оценка документальной фотографии продолжила традицию критики театра насилия, начатую еще в Исповеди Аврелия Августина^[19].

См. также

Примечания

1. ↑ Сьюзен Зонтаг. Смотрим на чужие страдания / Пер. Виктор Голышев. — М.: Ад Маргинем, 2014. — ISBN 978-5-91103-170-1.
2. ↑ Васильева Е. Сьюзен Зонтаг о фотографии: идея красоты и проблема нормы // Вестник Санкт-Петербургского государственного университета. Серия 15, 2014, вып. 3. — С. 64—80.
3. ↑ Heilbrun F. Charles Nègre: photographe 1820-1880. Catalogue de l’exposition. Arles, musée Réattu, 1980. ISBN 2-71180-164-0
4. ↑ Васильева Е. Город как среда обитания // Васильева Е. Город и Тень. Образ города в художественной фотографии XIX-XX веков. Saarbrucken: Lambert Academic Publishing, 2013, с. 88-99. ISBN 978-3-8484-3923-2
5. ↑ ^{1 2 3} Васильева Е. Фотография и феноменология трагического: идея должного и фигура ответственности. // Вестник Санкт-Петербургского государственного университета. Серия 15., 2015, вып. 1, с. 26-52.
6. ↑ Руйе А. Фотография. Между документом и современным искусством. — СПб: Клаудберри, 2014. — 712 с. ISBN 978-5-903974-04-7
7. ↑ Riis J. How the Other Half Lives: Studies among the Tenements of New York. New York: Charles Scribner’s Sons,1890.
8. ↑ Thomson J. Street Life in London. London: J.Thomson and Adolphe Smith, 1878
9. ↑ Левашов В. Лекция 6. Документальная фотография 1920 — 1950х годов. / Левашов В. Лекции по истории фотографии. — М. : «Тримедиа Контент», 2014. — 117—135. с.
10. ↑ Коулман А. Документальная фотография, фотожурналистика и пресс-фотография сегодня //photographer.ru, 4 окт, 2003
11. ↑ Коулман А. Документальная фотография, фотожурналистика и пресс-фотография сегодня //photographer.ru, 4 окт, 2003
12. ↑ Robert Frank. The Americans. New York: Grove Press, 1959. ISBN 9780948797828
13. ↑ Evans W. The American Photographs (1938). N.Y. The Museum of Modern Art, 2012. ISBN 978-0-87070-835-0
14. ↑ Sekula A. Photography Against the Grain: Essays and Photo Works 1973–1983. Press of the Nova Scotia College of Art and Design, 1984 — 259 p. ISBN 978-0919616288
15. ↑ Сонтаг, С. О фотографии/ Пер. Викт. Голышева. М.: Ад Маргинем Пресс, 2013. — 272 с. ISBN 978-5-91103-136-7
16. ↑ Сьюзен Зонтаг. Смотрим на чужие страдания / перевод: Виктор Голышев. — Ад Маргинем, 2014. — ISBN 978-5-91103-170-1.
17. ↑ Там же…
18. ↑ Руйе А. Фотография. Между документом и современным искусством. — СПб: Клаудберри, 2014. — 712 с. ISBN 978-5-903974-04-7
19. ↑ Васильева Е. Фотография и феноменология трагического: идея должного и фигура ответственности. // Вестник Санкт-Петербургского государственного университета. Серия 15., 2015, вып. 1, с. 26-52.

Литература

• Васильева Е. Сьюзен Зонтаг о фотографии: идея красоты и проблема нормы. // Вестник Санкт-Петербургского государственного университета. Серия 15., 2014, вып. 3, с. 64 — 80.
• Васильева Е. Фотография и феноменология трагического: идея должного и фигура ответственности. // Вестник Санкт-Петербургского государственного университета. Серия 15., 2015, вып. 1, с. 26-52.
• Левашов В. Лекция 6. Документальная фотография 1920 — 1950х годов. / Левашов В. Лекции по истории фотографии. — М. : «Тримедиа Контент», 2014. — 117—135. с. — ISBN 978-5-903788-63-7.
• Руйе А. Фотография. Между документом и современным искусством. — СПб: Клаудберри, 2014. — 712 с. ISBN 978-5-903974-04-7
• Hales P. B. William Henry Jackson and the Transformation of the American Landscape. Philadelphia: Temple University Press, 1988. ISBN 1-56639-463-5
• Naef W.; Wood J. N. Era of Exploration. New York: Metropolitan Museum of Art, 1975. ISBN 9780870991288
• Snyder J. American Frontiers: The Photographs of Timothy H. O’Sullivan, 1867—1874. Millerton, NY: Aperture, 1981. ISBN 9780893810832
• Solomon-Godeau A. Wer spricht so? Einige Fragen zur Dokumentarfotografie // Herta Wolf (Hg.). Diskurse der Fotografie. Fotokritik am Ende des fotografischen Zeitalters. Frankfurt am Main, 2003, S. 53-74.
• Stott W. Documentary Expression and Thirties’ America. New York: Oxford University Press, 1973. ISBN 9780226775593
• Stange M. Symbols of Ideal Life. New York and Cambridge, England: Cambridge University Press, 1989.
• Starl T. Dokumentarische Fotografie // Hubertus Butin (Hg.). DuMonts Begriffslexikon zur zeitgenössischen Kunst, Köln 2002, S. 73-77.

Ссылки

90000 The Beginner’s Guide to Documentary Photography 90001 90002 90003 90004 90002 In it’s most narrow definition, documentary photography is the practice of making a photograph which is an accurate representation of its subject. But the practice of shooting documentary photography is much richer than it’s definition would lead you to believe. 90004 90002 Documentary photographers, like photojournalists and photojournalistic images, are expected to capture the world or everyday life, as it exists, without stage managing or directing or editing the scene.In Documentary Storytelling and Photojournalism, Deanne Fitzmaurice put it like this, «its about not directing. It is just letting real life unfold. » Despite its anti-interventionist approach, documentary photography is not a dispassionate art form. 90004 90002 The origins of documentary photography are rooted in the very human desire to affect social change. Some of our early examples of documentary photography exemplify this impulse. At the turn of the 20th century Joseph Riis used photographs to inspire reform in New York slums.In the 1930’s Dorthea Lange shot photographs that told the story of the Great Depression in the United States (capturing images of historical significance like the ever-popular Migrant Mother). French photographer Henri Cartier-Bresson helped bring about the start of candid documentary photography with his book The Decisive Moment. Even when a documentary photographer turns her lens to a landscape or relic of history there is something evocative in the work. As Tate puts it, documentary photography, «offers alternative ways of seeing, recording and understanding the events and situations that shape the world in which we live.»In that way, documentary photography is a popular form of real life reportage and is distinct from abstract photography or even street photography. Abstract photography aims to convert a feeling, mood or expression, but it does not focus on a subject. Street photography focuses more on candid photography. 90004 90011 90002 90013 Learn the fundamentals and art of street photography from street photographer Steve Sweatpants. Learn more. 90014 90004 90002 90017 90004 90011 90002 All documentary photography may accurately represent a subject, but 90013 good 90014 documentary photography is the handiwork of a photographer with a critical eye and story to tell.Capturing the decisive moment n any scenario takes a healthy amount of intuition and skill. 90004 90002 So how do you do it? 90004 90002 Mastering the fundamentals of photography is always a good place to start. But documentary photography is not the exclusive provenance of experienced professionals. Amateurs and beginners often use the experience of documenting to learn more about the craft of photography itself. 90004 90011 90002 90013 Learn the basics of documentary photography and more with photographer John Greengo.Watch now. 90014 90004 90002 90034 90004 90011 90037 Develop your people skills to get close-up and personal. 90038 90002 In Visual Storytelling: Why We Shoot, Ron Haviv explained how technical photography skills only play a supporting role in the process of making documentary photographs, «these are just straight people skills that have nothing to do with the camera. So much of the work that we have to do [we do while] the camera is in the bag. It’s conversations. Its learning. Its research.Its understanding what is happening around you. » 90004 90002 90042 90004 90037 Commit the time. 90038 90002 Part of understanding what is happening around you is making the commitment to spend time with your subject. Photojournalists are often asked to act quickly to document immediate events. Conversely, documentary photographers are often working with the advantage of time. A documentary project can easily span the course of weeks, months, even years. Give yourself the time you need to really get to know your subject.That intimacy will yield a more meaningful body of work. 90004 90037 Protect your work. 90038 90002 It is likely your documentary photography project will be shot over a series of days, weeks, or even years. As such, you’ll need to develop a system for organizing and managing your work. In Your Photojournalism Survival Kit Ron Haviv advises photographers to immediately duplicate their work and add metadata daily. Ron learned the hard way how quickly a lax approach to duplication can sink any project.He was photographing the conflict in Iraq during the American invasion and did not stop to back up his work. As he prepared to leave he discovered his drive was damaged beyond recovery. The wear and tear of bouncing around on rough roads destroyed his only drive and he lost all his work. Avoid making the same mistake. 90004 90002 90053 90004 90037 Indulge your own curiosity. 90038 90002 Documentary photography can be an intimate exploration of a subject for your own gratification and understanding.It can also be a powerful way to share historical events or a message with the greater world. Photojournalist and documentary photographer Ed Kashi used photography to explore the realities and challenges of aging in American culture. He also used it to document his own family’s journey with his aging father-in-law. As a result, his body of work touches on the universal and the very, very personal. For Kashi the most important skill he brings to his work is his own curiosity. His personal desire to witness and better understand the world around him has allowed him to make such moving work.90004 90002 Fitzmaurice agrees: simple curiosity is the origin of any meaningful documentary photography project. What is the most important documentary photography skill from her perspective? «You want to be interested in people-in life.» 90004 90011 90002 90013 Learn the basics of documentary photography and more with photographer John Greengo. Watch now. 90014 90004 90002 90034 90004 90011 .90000 Documentary Photography: Characteristics, History 90001 90002 90003 Erich Salomon (1886-1944) 90004 90005 90002 The most talented photographer working for 90007 Berliner Illustrierte Zeitung 90008 was a discreet self-effacing Jewish doctor, Erich Salomon. In the early 1930s Europe was a hive of international conferences. Politicians met in Berlin, Paris, Vienna and Rome, hoping to avoid impending conflict, trying to set up a League of Nations.Conferences between diplomats and statesmen were held behind closed doors — the only photographs that people saw were formal wooden groups posed for the Press. 90005 90002 Salomon had a tiny Ermanox plate camera. Disguising himself in evening dress and exploiting his ability to speak seven languages, Salomon politely gatecrashed many conferences. He discreetly passed among famous politicians, taking photographs by available indoor lighting, with the camera half hidden under his jacket.His unique sets of pictures conveyed the general atmosphere and showed the personalities of those taking part at unguarded moments, engrossed in after-dinner discussions. They contrasted sharply with the blinding flash and smoke which everyone associated with cameramen and made them an unwelcome nuisance. 90005 90002 For the magazine reader this new form of political reporting gave a real feeling of ‘being there’. What were these people talking about — what were they plotting? Other photojournalists followed Salomon’s lead, mostly with smaller cameras such as the Leica which allowed pictures to be taken in quicker succession and gave greater depth of field.Sadly Salomon was to die in 1944 at the hands of the Nazis at Auschwitz extermination camp. 90005 90002 90003 Henri Cartier-Bresson (1908-2004) 90004 90005 90002 Probably the most famous and original of all ‘candid’ reportage photographers, Henri Cartier-Bresson originally aimed to become a painter. He started taking photographs in the early 1930s when he bought a Leica and found it a marvellous device for capturing what he describes as ‘the decisive moment’ in everyday situations.In other words he maintained there is one fleeting fraction of a second in which the significance of an event can be summed up and expressed in the strongest possible visual composition. 90005 90002 Cartier-Bresson was mainly a photographer of people — but not as a social reformer or news event reporter, simply as observer of the passing scene. His pictures document ordinary people with warmth and humour, never influencing his subjects but showing them at moments of extraordinary intensity.Typically he would turn his back on a newsworthy event — procession, celebration, etc. — to concentrate on the reactions of onlookers. 90005 90002 Cartier-Bresson never used flash or special lenses, and the whole of each negative is always printed without cropping. He photographed the people of most countries, but excelled at showing fellow Europeans. His pictures were used in all the most important magazines, and many books for more than 60 years.They were also purchased and exhibited by many of the world’s art galleries. 90005 90002 After World War II, in 1947 Cartier-Bresson and photographers Robert Capa and David Seymour formed a picture agency called «Magnum». Run as a co-operative and owned by the photographers themselves, Magnum has members in various countries. It sells pictures to publishers of all kinds and has become the most famous photojournalistic agency of its kind in the world.90005 90002 90003 Bill Brandt (1904-1983) 90004 90005 90002 One of Britain’s most distinguished photographers was also working as a photojournalist during the late 1930s. Bill Brandt was born in London and in 1929 learnt photography in Paris as assistant to Man Ray (Emmanuel Radinski) (1890-1976). Reportage work was the new most challenging area for young photographers, and Brandt was influenced by the work of Cartier-Bresson and others.He returned to Britain during the depression years, producing pictures of the industrial North which made pointed comparisons with other richer levels of British society. He was also an exponent of Pictorialism with a series of staged photos of suburbia. 90005 90002 Brandt’s work appeared as picture books such as 90007 The English at Home 90008 and 90007 A Night in London 90008. He also undertook many 90007 Picture Post 90008 assignments (where his pictures often appeared anonymously as was common at that time).Later Brandt was to specialize in landscapes, and books of original experimental photographs such as distorted images of the human form. 90005 90002 During the war years (1939-1945) most photojournalists worked for organizations such as the US Information Service, or the British Ministry of Information, or were drafted into Air Force or Army photographic units. The British Army Film and Photography Unit produced over 137,000 documentary pictures of offensives; there was an equivalent organization in Germany called the PBK (German Propaganda Corp).90005 90002 90003 Robert Capa (1913-54) 90004 90005 90002 Robert Capa, who hated war and tried to depict its futility, became a renowned war photographer. Like many war photographers, both Capa and fellow Magnum founder David Seymour (1911-1956) were to die in action a few years later — Capa covering conflicts in Indochina, and Seymour in Egypt. 90005 90002 90003 Rise and Fall of Picture Magazines 90004 90005 90002 In some ways picture magazines of the 1930s and 1940s were the modern equivalent of the stereoscope cards of the nineteenth century.At their best they offered the ordinary person a window on the world — coverage of great events, a peep behind the scenes, a day sharing the lives of famous people — in greater detail than newspaper press photographs could ever provide. They could also make readers more aware of the gap between what life is, and might be. 90005 90002 Of course, the magazines always contained a great deal of purely entertainment material such as cute pictures of animals, stills from new Hollywood movies, the latest fashion craze.But they could also be powerful moulders of public opinion on more vital issues. Unlike today’s colour supplements most of them ran occasional crusades on issues like bad housing, pollution, help for the disadvantaged, and so on. They took sides rather than going for bland neutral coverage. This made a lively and much more interesting magazine but put responsibility on the shoulders of photojournalists, writers and editors. The production team had to be well informed and able to present a reasoned argument rather than propaganda.They were operating possibly the most persuasive visual medium in the days before television — for cinema newsreels were mostly flippant and quickly forgotten. 90005 90002 Picture magazines influenced each other too. Stefan Lorant (1901-97), a Hungarian Jew and editor of the Munich rival of 90007 Berliner Illustrierte 90008 left Germany under Nazi pressure. A few years later in 1938 he became 90007 Picture Post 90008 ‘s first editor. Together with photographers Kurt Hutton (born Kurt Hubschmann) (1893 1960), Felix Man (1893-1985) and other European refugees, he brought the use of 35 mm cameras and the ideas and layout of German picture magazines to Britain.They filled 90007 Picture Post 90008 (and its rival, 90007 Illustrated 90008) with action pictures and features which looked very different to traditional British weeklies like 90007 Tatler 90008 or 90007 Illustrated London News 90008. In America other European immigrant photographers such as Alfred Eisenstaedt (1898-1995) and Robert Capa made outstanding contributions to LIFE. In Britain, Larry Burrows (1926-71) was the outstanding photojournalist for LIFE.90005 90002 Picture magazines thrived during the conflict and excitement of World War II, despite the shortage of paper. They seemed to sell everything they could print and had enormous status. However, by the 1950s 90007 Picture Post 90008 had begun to lose its sense of purpose. Even the novel use of several regular pages of colour could not revive it. 90007 Illustrated 90008 closed in 1958 90007 Picture Post 90008 in 1957 90007 Look 90008 in тисячі дев’ятсот сімдесят одна.LIFE lingered on in more-or-less its original weekly form until 1972. 90005 90002 Television had taken over as a faster, more universal method of visually communicating news and features; it was also stealing most of the advertisers. By the 1970s photojournalism had lost a lot of its influence, although it remained in magazines such as 90007 Stern 90008 (Germany) and 90007 Paris Match 90008 (France), and in a number of expensively produced company magazines for the oil industry, etc.90005 90002 90003 Distortion and Manipulation of Images 90004 90005 90002 The way the world is presented by documentary photography is often distorted in one form or another — it is almost impossible to be completely objective and truthful. As equipment and materials improved they gave greater freedom to decide what and when pictures were to be taken. And once photographs could appear in publications the photographer’s choice of moment was followed up by decisions on which picture (s) were or were not to be used, the ways captions were written, and how pictures were related one to another across the page.90005 90002 Half-tone reproduction gave documentary photography a huge audience and made it influential. People soon wanted to manipulate such a powerful medium. Photographers began doing this by posing their subjects, and choosing the viewpoint, lighting and moment in time; editors by selection and presentation of their results. 90005 90002 Manipulation need not always be bad. For Dr Barnardo’s before-and-after pictures, boys were usually dressed up in rags to recreate the ‘before’ situation.One of the FSA photographers was severely criticized when it was discovered he had shifted a cow’s skull several feet from a patch of scrub grass to make a stronger picture. However, neither really distorted the truth of the general situation they were trying to show — they simply communicated it in a visually stronger way. 90005 90002 On the other hand, from the early days of picture newspapers it has been normal practice to file photographs of prominent people looking confident, defeated, aggressive, stupid, etc.Such pictures are pulled out and reproduced as press portraits to suit the mood of the moment, when that person is either favoured or disliked. Again, an editor can easily select from a photographer’s picture series an image he would normally reject. By adding a headline and caption he gives it strong meaning. 90005 90002 People gradually realized the publicity they could gain through photography. A demonstration often becomes violent when professional photographers or TV crew are seen to be present.In one extreme instance in the late 1960s a public execution was held over for 12 hours, as the evening light was too poor for the press to take pictures. The concerned photographer therefore has to ask him or herself whether something they document would have happened that way had he not been present? Should a wide-angle lens be used, which makes close-ups of people with their arms out look more violent? Would grainy film and dark printing make bad living conditions look worse? 90005 90002 As can be seen, the more strongly the photographer or editor feels about a particular situation the more tempting it becomes to present it in a powerful way.Strictly objective recording is almost impossible — in any case it often gives cluttered pictures which confuse what is being shown. But then, too much concern for clarity of presentation can distort the real events. In practice documentary photography has to function somewhere between these extremes. 90005 90002 90003 Contemporary Documentary Photography 90004 90005 90002 Since the mid-60s or thereabouts, the era of Postmodernist art has witnessed a widening range of documentary camerawork, in keeping with the advent of globalization, as well as changing moral views and increased social fragmentation.Famous postmodernist artists who have produced noteworthy documentary photographs, include: Diane Arbus (1923-1971) whose harrowing black-and-white photos of freaks, eccentrics and marginal individuals in New York, proved too controversial for many art critics; Bernd and Hilla Becher, who chronicled disappearing styles of industrial architecture; Garry Winogrand (1928 1984) and Lee Friedlander (b.1934) who focused on America’s cultural landscape; Robert Adams (b.1937) — whose photos appeared in the seminal 1975 exhibition entitled «New Topographics: Photographs of a Man-Altered Landscape «- addresses the outdoor landscape; William Eggleston (born 1939), one of the pioneers of colour documentary photography; and Nan Goldin (b.1953) whose contribution to contemporary art includes numerous series of documentary photos on deviant groups and feminist issues. See also works by Lewis Baltz, Frank Gohlke, and Stephen Shore.90005 90002 90003 Famous Documentary Photographers 90004 90005 90002 Here is a short list of some of the greatest exponents of documentary-style photography, listed in chronological order: 90005 90002 90003 Roger Fenton 90004 (1819-69) 90117 Pioneer war photographer. 90005 90002 90003 Mathew Brady 90004 (1822-96) 90117 Photographed the American Civil War. 90005 90002 90003 John Thomson 90004 (1837-1921) 90117 Pioneer social photographer noted for «Street Life in London» (1877).90005 90002 90003 Tim O’Sullivan 90004 (1840-82) 90117 Pioneer wilderness photographer of the American West. 90005 90002 90003 William Jackson 90004 (1843-1942) 90117 Influential landscape photographer notably of Wyoming and the Yellowstone region. 90005 90002 90003 Jacob Riis 90004 (1849-1914) 90117 Famous for his pioneering social documentary photographs of New York slums, especially his series «How The Other Half Lives» (1890). 90005 90002 90003 Eugene Atget 90004 (1857-1927) 90117 Noted for his archive of shots taken of buildings in Paris.90005 90002 90003 Lewis Hine 90004 (1874-1940) 90117 Famous for his exposure of child labour working conditions in West Virginia, North Carolina, New Jersey, and elsewhere. 90005 90002 90003 Charles Sheeler 90004 (1883-1965) 90117 Precisionist painter noted for photographing the Ford Motor company car plant in Michigan. 90005 90002 90003 Roman Vishniac 90004 (1897-1990) 90117 Jewish-American photographer who catalogued Jewish life before World War II.90005 90002 90003 Walker Evans 90004 (1903 1975), 90003 Dorothea Lange 90004 (1895-1965) 90117 All famous for their portrait photos of Depression-era individuals and families. 90005 90002 90003 Ansel Adams 90004 (1902-84) 90117 Famous for his ‘wilderness photography of the American West. 90005 90002 90003 Ken Domon 90004 (1909-90) 90117 Renowned for his photos of survivors of the atomic bomb at Hiroshima, and child poverty in the coal-mining community in Chikuho, Kyushu.90005 90002 90003 Hans Namuth 90004 (1915-90) 90117 Famous for his photographic series on artists like Jackson Pollock, the Cubist Stuart Davis; the pop artists Andy Warhol, George Segal and Roy Lichtenstein; the minimalist sculptor Richard Serra and others. 90005 90002 90003 Diane Arbus 90004 (1923-1971) 90117 Notorious for her photos of freaks. 90005 90002 90003 Robert Frank 90004 (b.1924) 90117 Renowned for his series entitled «The Americans» (1959) 90005 90002 90003 Larry Burrows 90004 (1926-71) 90117 Photojournalist for LIFE magazine noted for photo-essays on the Vietnam war.90005 90002 90003 Don McCullin 90004 (b.1935) 90117 Highly respected photographer of individuals caught up in war zones. 90005 90002 90003 Steve McCurry 90004 (B.1950) 90117 Best known as a National Geographic photo artist. 90005 90002 90003 Nan Goldin 90004 (b.1953) 90117 Feminist photographer noted for her ground-breaking work among minority social groups. 90005 90002 90003 Nadav Kander 90004 (b.1961) 90117 Best known for his blunt series of photos of the Yangste River, in China.90005 90221 90002 Social documentary photographs are regularly shown in some of the best galleries of contemporary art across America. 90005 90224 .90000 Documentary Photography 101: Tips, Tricks and Other Important Details 90001 90002 Not many photographers are into documentary photography. The reason — it’s not easy and it requires a specific set of skills. Documentary photography is not just about clicking the camera. However, it is one of the most satisfying projects one can ever ask for. 90003 90002 First off, though, let us define documentary photography. 90005 What is it all about? What makes it so special and satisfying? 90006 90003 90008 What is Documentary Photography? 90009 90002 In the simplest of terms, documentary photography is all about telling stories with significance, such as historical events.One of the objectives of documentary photography is to record social and political events with the purpose of informing the public. Moreover, documentary photography chronicles events that need the attention of an audience in order to stimulate or encourage action and social change. 90005 The main task of a documentary photographer is to act as an eyewitness to what is happening in society. 90006 90003 90014 90015 image by Kelly Short 90002 In a way, documentary photography and photojournalism are related.Both are classified as challenging forms of photography. Also, both forms often render the photographer quite helpless because he has no control over the situation. 90003 90002 It’s not like studio or model photography where the poses can be choreographed. In documentary photography, you shoot as the events or the action happens. This is one of the reasons why it is a difficult practice. But if you’re bent on becoming a good documentary photographer, there are always tips and tricks that you can follow and learn.90003 90008 Documentary Photography Tips and Tricks 90009 90002 Here are some tips and tricks that can help you 90005 start your documentary photography adventure on the right note 90006. 90003 90026 90015 image by Tony Hall 90028 Before anything else, research! 90029 90002 Use the Internet or visit your favorite local library to gather all the important information about your subject. Before you go out to shoot, you have to familiarize yourself with the topic you’ll tackle. Doing some research will give you a good understanding of the subject, which will help you come up with ideas on how to shoot or how you want the images to come out.90003 90028 Interact with your subject (if you can). 90029 90002 In order to come up with the look you desire, you have to reach out to your subject. You do not have to sit down with them and do an interview. You simply have to approach and start a conversation with them. Establish a connection and build a rapport. This can be done on the spot, before the shoot starts or while you are preparing for the shoot. This will help them feel comfortable with you and your team (if you have one). 90003 90002 Additionally, you can spend several days in the location or within the area; immersing yourself in their situation or the culture.This will greatly help you understand the subject better. 90003 90028 Documentary photography tells stories through faces and emotions. 90029 90002 Be prepared to shoot some close-ups aside from wide-angle shots that show the subject’s environment or surroundings. Showcasing your subject’s face, especially the eyes, will allow you to tell a lot of stories. It will give your audience a lot of things to talk about, which is one of the purposes of documentary photography. Before taking the close-up shots, though, be sure to ask permission from your subject.90003 90002 90005 Remember: You’re not just a photographer; you’re also a storyteller. 90006 90003 90046 90015 image by Freedom II Andres 90002 Documentary photography tells interesting stories that require action or resolution. Therefore, the best way to get the attention of your audience is to become a storyteller. You have to learn how to tell your subject’s story objectively. You can add some style, but 90005 you should never take away facts or details 90006. Tell the story as it is, using the power of your camera and lens.90003 90052 90053 90005 Be patient 90006: As previously mentioned, documentary photography is very challenging because you have no control over the situation, the scene, or the subject. Therefore, you should not expect to arrive at the scene or location expecting things to unfold right away. You have to be patient and wait for that defining moment, or for the interesting events to happen. Sometimes, you will need to wait for hours or for several days, before you can finally get the shot you want.90056 90053 90005 Variety is the secret 90006: You have to be as creative as you can be in creating your shots. Do not get stuck with wide-angle shots because they will only give you the general situation. Get out of the box and take close-up shots, and even aerial shots that show various angles of the subject and their story. Focusing closely on your subject will give your images a more personalized feel. 90056 90053 90005 Practice 90006: Finally, do not forget to practice. You do not have to go to the location and shoot your subject when you practice.You can do this anywhere and whenever you want to. Remember, practice makes perfect — especially in field as difficult as documentary photography. 90056 90065 90066 90015 image by Jamelle Bouie 90008 Famous Documentary Photographers For You To Follow 90009 90002 There are several respectable documentary photographers in the world that you can follow. Listed below are some of the most popular: 90003 90072 90053 Lewis Hine became famous when he documented the construction of the Empire State Building.He also took documentary photos of the thousands of immigrants coming to Ellis Island. 90056 90053 Garry Winogrand documented what life was like in the United States way back in the 1960s. His main focus was New York. After he died at the age of 56, around 300,000 of his photos were discovered, along with over 2,000 rolls of unprocessed film. Some of his best works are displayed in Arizona’s Centre for Creative Photography. 90056 90053 Henri Cartier-Bresson is not only a documentary photographer, he is also considered a surrealist artist.His most definitive works include the documentations of the American culture, France during the war, and the funeral of the great late leader Gandhi. 90056 90079 90002 Documentary photography is gratifying because everything that you do has substance and significance. Also, your photographs do not only tell stories; they also invite and encourage action where and when it is needed. 90003 .90000 Documentary Photography Tips For Starting Out in the Field 90001 90002 Everybody experiences creative blockages at times. A documentary photography project will help you overcome your creative impasse. 90003 Actively being in the process of photographing for an ongoing project will help keep your passion alive. Not just for the documentary photography idea you are working on. 90003 You will find, once you are engaged in a project, you have other photography ideas.90005 90006 Photo by: Kevin Landwer-Johan 90007 90008 90009 What Is a Documentary Photography Project? 90010 90002 A documentary photography project is a visual narrative of virtually anything you can make pictures of. Typically a long term project rather than a one time photo session. You will produce a series of images over a period of days, weeks, months or years. 90005 90013 Photo by: Kevin Landwer-Johan 90002 A documentary, photographic or otherwise, is a presentation of facts.Making photos for a documentary you will have little or no control of your chosen subject matter. 90003 A fashion or still life photographer can freely manipulate their subject. A true documentary photographer will only record what is actually happening without intervention. 90003 This type of photography can be challenging. But when all the elements fall into place, documentary photographs can be the most compelling. 90005 90018 Photo by: Kevin Landwer-Johan 90009 How to Start a Documentary Photography Project 90010 90002 Coming up with practical documentary photography ideas can be very challenging.Let me share with some of the ways I have learned to do this. 90005 90023 Make Lists of Ideas 90024 90002 I am an incessant list maker. Having a project on the go requires a number of lists to help keep me on track. 90003 Make yourself a master list of ideas. One you can write down any ideas for any kind of project. Do not confine it to photography ideas. Think outside the box. Do not aim to be practical. This list is for everything. 90003 Make another list, after a while. Begin to edit your master list.Be practical. Ask yourself if the ideas on your master list could become a documentary photography project. 90003 If you can see it working, add the idea to your second list. 90005 90030 Photo by: Kevin Landwer-Johan 90023 Things to Consider: 90024 90033 90034 Is my idea visually interesting? 90035 90034 Will it challenge me? 90035 90034 Will I enjoy photographing this topic? 90035 90034 Can I learn enough about my chosen topic? 90035 90034 Will I have easy access to my subject or location? 90035 90034 Are there safety concerns? 90035 90046 90002 If you have any concerns about any of these or other things you may think of, you might need to leave the idea off your second list.90003 Keep narrowing down your lists until you have one or two ideas you are comfortable to move forward with. 90003 At this stage, I usually decide on the length of time I will commit to the project. Depending on the project I will sometimes leave it open ended. 90005 90051 Photo by: Kevin Landwer-Johan 90023 How to Decide How Long Your Project Will Take 90024 90002 Have the end in mind. What do you want to achieve? How many final photographs do you want to produce? Be flexible with your time frame.90003 Consider what a reasonable time frame would be to come up with a series of photos. Deciding this as you start out will help you stay on target. 90003 If your project is to run its course over a number of months or longer, set yourself some milestones. At the beginning of each month make time to review your progress and adjust your project’s time frame if you want. 90003 I find if you leave a project open ended there’s a danger that it will not be completed. If you set yourself a too short a time frame you may not have time to enjoy the process and produce pleasing results.It’s good to remain flexible and review from time to time. 90003 If I have another purpose for the photos, like a publication or exhibition, I will work to a deadline. This can be healthy for production too, but not so much when you are starting out. 90005 90060 Photo by: Kevin Landwer-Johan 90009 Things to Do Before You Start Your Project 90010 90023 Visit the Locations 90024 90002 Even if you have chosen a topic you already have a vast knowledge of, do some research. The more you know and understand your photography documentary subject, the better you will be able to visually represent it.90003 Make use of the internet. Google and Youtube are huge resources for researching documentary photography ideas. Visit your local library too, as books often contain more refined information than you may find on the internet. 90003 If there’s an interest group in your area about your subject, join it. Meet other people who have similar interests and learn from them. 90003 Visit the location or locations where you plan to make your documentary photography. Observe what happens there. Look for patterns of activity.Look for repetition. Whatever happens repeatedly is characteristic of your chosen subject and needs to be a main focus of your attention. 90005 90070 Lung Gao and his Samlor at the markets. Photo by: Kevin Landwer-Johan 90023 Meet the People 90024 90002 Of course, this may not be relevant to every documentary photography ideas. Sometimes there will be no people to talk to. When there are, get to know them. 90003 The series of photos I am showing with this article is a long term documentary project I have.For many years now I have been photographing the tricycle taxis in Chiang Mai, Thailand. Not only the bikes, but their riders. 90003 Lung Gao is one of the leaders of this group of aging public transport providers. Connecting with him has proven beneficial in many ways. Not only for this documentary project but also for the photography workshops we run. 90003 He has helped me connect with others in his group I do not know and made me feel welcome whenever I was photographing them. Without this relationship I would have missed out on so many photo opportunities.90003 The right people may have information you may not find in any book or online. Local knowledge can help you to see things you may have otherwise missed. 90003 Depending on your project, your photos may end up being published or used in other ways. If you need to, seek permission to undertake your documentary photography idea. 90003 You may want to photograph on private property, or among a group of people. At schools or hospitals, even a local shopping area, you will be best to find the right person to get clearance from.90003 It would be disappointing to start a project only to get part way through and have to stop because you did not get proper permission. 90003 Present yourself well and your intentions clearly. Be honest about what you want to do. Be prepared to follow any rules and guidelines. And do not forget to offer your subjects some of the photos. 90005 90083 Photo by: Kevin Landwer-Johan 90009 How to Photograph for a Doc 90010.