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| "Death of a Republican soldier", photo taken by Robert Capa September 5, 1936 | |
R obert Capa seizing the moment when the ball broke a Franco English Republican militiaman, Cerro Muriano somewhere on the front of Andalusia. I always loved this picture. First, because it is one of the best photos ever taken by a war reporter. I also love what it stands for political and prophetic: hope and freedom murdered by fascism in 1936 in cowardly indifference of the great Western democracies. I love last but not least because eye of the photographer was able to capture and transmit to us miraculously * this life halved , a tiny fragment of personal history ground in the great cauldron of the Story being done.
Can we still make today a photo with this unique symbolic power at the time of the overdose of dematerialized images crashing on all the screens of our lives? By dint of blow to trivialize mpx multiplied to infinity and gigabytes stored on our hard drives, digital civilization Is killing photography in the sense that they could hear from his "invention" by Niépce in 1826? Because I was wondering the other day when leaving the beautiful expo Larry Clark, one of the few photographer and film director to have captured the ephemeral eternal adolescence ( about this see this post from my colleague Capucine Cousin and it on the blog of Diana's news with a magnifying glass). And I asked myself the same question last night when leaving the cinema. seen "The man who wanted to live his life," or how a Romain Duris fugitive kills the winner digital it became an attempt to return to life through the viewfinder of an old Nikon that reveals himself as in a silver bath ...
Etymologically, it photography the art of representing the real image "light writing" . I'm not sure today that we write the light exiting at every turn our compact digital cameras, smartphones and even our reflex to take our pictures insignificant on the fly, burst, then post them on Facebook. ;
At the time of the film, we had especially the illusion of capturing the moment , steal a millisecond in time that passes, to capture a fragment of humanity in time T. Take a picture was even a ceremonial . Dabord one must be sure of his shot: a film = 24 or 36 exposures. not one more. And printing cost candy. Then choose the focal length in a jiffy to give more or less of field, set the aperture according to the light, choose your shutter speed to freeze or not ... I'm moving my teeth amateur photographer on the Praktica my father ... a rugged, accurate and rustic manufactured in Dresden, then in East Germany. Then there was this tremendous Olympus OM-10 and its optical Zuiko for my 18 years. A concentrate of Japanese technology, the smallest SLR in the year 1984. I still have it. In the picture the draw, he had to give it time. Bring his film to be developed to get his prints. Or do so-even in the magic of the darkroom.
I remember as a child complicit in those hours spent with my father, this hero, under the red light, the only tolerated in these places. It was more ceremonial, but religion. There was first bombing of the enlarger light to fix the negative image on white paper. It was then soaked in a bath of the draw ... and then revealing miracle at the end of the clip, you saw the image miraculously appear on paper as a Badge reward method and patience it took to get there, the snapshot to the revelation. Then it was the stop bath to stop the chemical reaction. And finally, bath fixer give life to the cliché. Who has not experienced this religion of silver does not know voodoo photography : I stole a moment of your life, it is worth ...
We took pictures to keep the memory of a space-time bubble happiness, leave a testimony of our fragile lives, pass on the family memory, witness of history in the making ... quick smile at life and say shit to death.
Can we still make today a photo with this unique symbolic power at the time of the overdose of dematerialized images crashing on all the screens of our lives? By dint of blow to trivialize mpx multiplied to infinity and gigabytes stored on our hard drives, digital civilization Is killing photography in the sense that they could hear from his "invention" by Niépce in 1826? Because I was wondering the other day when leaving the beautiful expo Larry Clark, one of the few photographer and film director to have captured the ephemeral eternal adolescence ( about this see this post from my colleague Capucine Cousin and it on the blog of Diana's news with a magnifying glass). And I asked myself the same question last night when leaving the cinema. seen "The man who wanted to live his life," or how a Romain Duris fugitive kills the winner digital it became an attempt to return to life through the viewfinder of an old Nikon that reveals himself as in a silver bath ...
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| Photo by Larry Clark exhibition "Kiss the Pass Hello" |
At the time of the film, we had especially the illusion of capturing the moment , steal a millisecond in time that passes, to capture a fragment of humanity in time T. Take a picture was even a ceremonial . Dabord one must be sure of his shot: a film = 24 or 36 exposures. not one more. And printing cost candy. Then choose the focal length in a jiffy to give more or less of field, set the aperture according to the light, choose your shutter speed to freeze or not ... I'm moving my teeth amateur photographer on the Praktica my father ... a rugged, accurate and rustic manufactured in Dresden, then in East Germany. Then there was this tremendous Olympus OM-10 and its optical Zuiko for my 18 years. A concentrate of Japanese technology, the smallest SLR in the year 1984. I still have it. In the picture the draw, he had to give it time. Bring his film to be developed to get his prints. Or do so-even in the magic of the darkroom.
I remember as a child complicit in those hours spent with my father, this hero, under the red light, the only tolerated in these places. It was more ceremonial, but religion. There was first bombing of the enlarger light to fix the negative image on white paper. It was then soaked in a bath of the draw ... and then revealing miracle at the end of the clip, you saw the image miraculously appear on paper as a Badge reward method and patience it took to get there, the snapshot to the revelation. Then it was the stop bath to stop the chemical reaction. And finally, bath fixer give life to the cliché. Who has not experienced this religion of silver does not know voodoo photography : I stole a moment of your life, it is worth ...
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| James Stewart in "Rear Window" |
I combine the past because things have changed since the advent of the digital civilization. The more than century-old company Eastman Kodak dropped the money not disappear. ; His British counterpart Ilford has stopped producing these films black and white 400 ASA were glad of my father. SLRs are no longer that pretty mechanical noise which triggered the shutter curtain ... unless you program them to mimic the past.
Take not one, but ten but a hundred photos without thinking . Transmit them in seconds with a digital camera or a smartphone on a computer screen, a tablet or a television. Scroll lazily from hundreds of pictures stored on your PC, check what we like, touch the plate as a surgeon photoshop image, broadcast a drunken one-night holiday memory or a network with a click and forget it immediately. There are so many possible and available images that we do more photography.
No magic at the click Digital. On a hundred shots taken at haphazard, chance will make things right. It will remain a good ten publishable on Facebook or Twitter ... Why bother to frame? Worry about the cons-day or head that is about you? The camera will automatically correct exposure and occur only if we smiled. France has more than 50 million telephones, most with a digital lens 5-8 megapixels. And almost as many compact digital cameras or SLR. We take each year billions of pictures. Show anything to show, to pose, but what is he? What is their life beyond the fun of the moment? We see them again once distributed or stored? Almost never. It takes new, be amazed, and yet still consume more images. Where are the photo albums that we had fun or nostalgia to open, alone or with family? It no longer made, no time. printing while keeping power, the illusion of eternity lurking in the depths of a hard drive, external drive or a USB key. At the risk of any mention of losing his memory and not to build the story of a family, nation, humanity as Emmanuel Hoog recalled recently in his essay "Memory Year Zero".
photograph So do we still? I wonder. "If the photography expressed the industrial society of the nineteenth century, with its desire to capture his life mechanically, digital photography and truly belongs property to a new society of the twenty-first century, first crossed by his desire to appear " meets the historian of photography Andre Rouille. short Yes and no. The modern objective the facilitation of photography , the fluidity of the scanned image taken and distributed in two clicks, saving time and democratization of the hobby. I do not say no. Even Larry Clark cited above began to shoot digital and film the young Latino punk-Skatters Wassup Rockers images in saturated couleur.Photographes professionals, artists, paparazzi, reporters, war ... everyone there is set. For my part, I myself am a convert now nearly ten years with the advent of digital cameras. A decade that Olylmpus OM-10 and Canon EOS-500 who succeeded him sleep in a closet. But they will resume service. I do not know why less time is radiant, it is less hopeful, the more I want to write the light on reality.
Jean-Christophe Féraud
* It is debate about the authenticity of this picture taken September 5, 1936 by Robert Capa and published in the wake of the French magazine "VU". Some say it is a staged propaganda for the English Republican cause. Other than the policeman took the pose when he was hit by a bullet, Capa's fault really. In reality , the photo is probably authentic. Other war reporters succeed "exploit" to seize this moment where the war takes its due from the Russian front in the war Vietnam, through the Normandy invasion. Robert Capa will leave him as his life, walking on a mine in Tonkin, May 25, 1954, in the last days of French Indochina. But no other photographer was present to memorialize his death in witness.
Take not one, but ten but a hundred photos without thinking . Transmit them in seconds with a digital camera or a smartphone on a computer screen, a tablet or a television. Scroll lazily from hundreds of pictures stored on your PC, check what we like, touch the plate as a surgeon photoshop image, broadcast a drunken one-night holiday memory or a network with a click and forget it immediately. There are so many possible and available images that we do more photography.
No magic at the click Digital. On a hundred shots taken at haphazard, chance will make things right. It will remain a good ten publishable on Facebook or Twitter ... Why bother to frame? Worry about the cons-day or head that is about you? The camera will automatically correct exposure and occur only if we smiled. France has more than 50 million telephones, most with a digital lens 5-8 megapixels. And almost as many compact digital cameras or SLR. We take each year billions of pictures. Show anything to show, to pose, but what is he? What is their life beyond the fun of the moment? We see them again once distributed or stored? Almost never. It takes new, be amazed, and yet still consume more images. Where are the photo albums that we had fun or nostalgia to open, alone or with family? It no longer made, no time. printing while keeping power, the illusion of eternity lurking in the depths of a hard drive, external drive or a USB key. At the risk of any mention of losing his memory and not to build the story of a family, nation, humanity as Emmanuel Hoog recalled recently in his essay "Memory Year Zero".
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| Photo Larry Clark on the set of "Wassup Rockers" |
Jean-Christophe Féraud
* It is debate about the authenticity of this picture taken September 5, 1936 by Robert Capa and published in the wake of the French magazine "VU". Some say it is a staged propaganda for the English Republican cause. Other than the policeman took the pose when he was hit by a bullet, Capa's fault really. In reality , the photo is probably authentic. Other war reporters succeed "exploit" to seize this moment where the war takes its due from the Russian front in the war Vietnam, through the Normandy invasion. Robert Capa will leave him as his life, walking on a mine in Tonkin, May 25, 1954, in the last days of French Indochina. But no other photographer was present to memorialize his death in witness.
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