Re: Lewis Hine

[Chuck Heiney <cheiney@xxxxxxxxxxxxx>]

Whether you physically arrange it or visually organize it, what's in the frame is manipulated from the photographer's point of view, meaning and intent. Some were more obvious with it - Gardner as  stated earlier or with Salgado today. Burtynsky? Do you think he just finds his images without the notion of directing intentions and reactions. The camera lies all the time.

Chuck Heiney

On Dec 27, 2013, at 2:20 PM, Randy Little wrote:

yeah just like Rosenthal in the pacific riding around in jeep throwing grandees off the back.   Or Gardner was known for posing bodies at battlefields.  I would to buy him posing the shots when needed.  

Randy S. Little
http://www.rslittle.com/

http://www.imdb.com/name/nm2325729/

On Fri, Dec 27, 2013 at 2:10 PM, Jan Faul <jan@xxxxxxxxxxx> wrote:

All photos (even ones made by the clueless) have a point of view. What I find so alarming about Hine is that many folks thought he was posing kids on girders and in other dangerous places and thus thought his stuff was invented. I own a few Hines, and I have shown them to folks who insisted they were ‘arranged’, like ads.

  

On Dec 27, 2013, at 10:48 AM, Randy Little wrote:

What photo documentary isn't exactly this.   All Documentaries are from a point of view.   

Randy S. Little
http://www.rslittle.com/

http://www.imdb.com/name/nm2325729/

On Fri, Dec 27, 2013 at 7:50 AM, John Palcewski <palcewski@xxxxxxxxx> wrote:

Opening paragraphs from:  Photographer as Advocate: Lewis Hine’s America

Odds are that when you close your eyes and imagine the huddled masses at Ellis Island, or brawny men at derricks hoisting iron bars to the top of the Empire State Building, you are seeing images that Lewis Hine introduced into the popular imagination. His photographs have become a crucial part of our national memory of the years between the turn of the century and World War II.

But Hine’s is not an objective record; his work was originally used as propaganda, albeit of a beneficent variety. Beleaguered immigrants, soot-faced miners, heroic mechanists, children who lost fingers in factories — the images, paired with reported exposés in progressive magazines and newspapers, were designed to chime chords of empathy within contemporaneous viewers so as to rouse them to action. These pictures were advocacy foremost, and art second.

“There are two things I wanted to do,” Hine once said. “I wanted to show the things that had to be corrected. I wanted to show the things that had to be appreciated.”

Whole article here:

http://hyperallergic.com/98778/photographer-as-advocate-lewis-hines-america/

Art Faul

The Artist Formerly Known as Prints

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