One Thousand Words [about photography] 04

ONE THOUSAND WORDS [about photography]

q

issue number four May 2015

qcritical essays amp reviews on photography

All content copyright copy 2015 Ballarat International Foto Biennale or the individual contrib-utors and may not be reproduced without the express written permission of the copyright owners save for fair dealing for the purpose of study criticism review and reporting of news All other rights are reserved

DESIGN penelope anne

SISTER PUBLICATIONS

We welcome essays for future issues of ONE THOUSAND WORDS [about photography Send your submissions for consideration to the editor 1000wordsballaratfotoorg

OFFICE ADDRESSUpstairs Mining Exchange12 Lydiard Street NorthBallarat VIC 3350

MEMBER FESTIVAL

POSTAL ADDRESSPO Box 41Ballarat VIC 3353Australia

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Assn No A0045714LABN 70496228247

08 A curatorial conundrum Paul Atkins

12 A dark and perplexing age Rosalie Wodecki

16 Remembering Sir Thomas Sarah Eastick

20 REVIEW The Decisive Moment and Scrapbook Gary Cockburn

44 Me and HC-B Robert McFarlane

46 Filming Robert McFarlane Mira Soulio

50 Received Moments Gary Cockburn

CONTENTS

ONE THOUSAND WORDS

6

A friend of mine had some photographs damaged when heavy rain leaked into her parentsrsquo shed where the prints were stored The photos were mainly from pre-digital years childhood holidays family pictures dinners with uni friends and so on I helped her with some scanning and suggestions for where she could go for restoration advice What was interesting was how much the damage and potential destruction of these pictures evoked a stronger engagement with them than would otherwise have happened Without the leaky shed the pictures would have remained stored away un-examined un-discussed un-disseminated

What this tells us is that beyond the concern for preserving images (which paper is archival how many hard drives are needed what RAID system is best) the thing that really keeps images alive is an engagement with them This is an issue that our contributers deal with in this issue Paul Atkins explains how he organises his personal archive against the background of an abundance of images and the uncertainties of

digital storage Rosalie Wodecki takes these questions into the public realm and looks at ways in which this is done by archives and institutions Sarah Eastick offers a personal essay about a family photograph that could just as easily be an item from the Australian War Memorial displaying the kind of attention that brings old photographs into our present lives

Gary Cockburn looks at another legacy that of two books from Henri Cartier-Bresson The Decisive Moment and Scrapbooks These have both been reprinted and Cockburnrsquos close reading takes us beyond mere nostalgia for some classic texts into a discussion of what these books mean to us now Cartier-Bresson is also the subject of an essay from photographer Robert McFarlane whose own work emerges out of the visual territory opened up by HC-B And McFarlane himself gives us a generous body of work to engage with Cockburn also gives us the first part of a profile of McFarlane that emerges from many hours of conversation And Mira Soulio also spent a lot of time with Robert McFarlane as

INTRODUCTION

7


a documentary-maker Her piece outlines her project on McFarlanersquos work and life and discusses some of the ways in which cinema can engage with still photographs Robert McFarlane is a photographer and writer worth listening to and this issue gives us a few ways to do just that

Mike Lim Editor 1000wordsballaratfotoorg

ONE THOUSAND WORDS

8

The primary problem

Photography is the dam that broke We have been filling the dam for over one hundred years with images that took a lot of energy to create This energy was either self expelled by those who prac- tised the black art in dark rooms or purchased by those wealthy enough to engage a photographer Regardless energy has a cost and this cost kept the dam filling gently

In 2007 with the introduction of the iPhone the dam really broke It was showing signs of failure during the mid 2000s as digital photography took off but phone photography was the dam buster

Irsquove been watching this fretting about the storage and retrieval of these photos using phrases such as lsquoneedle in a haystackrsquo lsquolost generationrsquo and lsquohistory black holersquo I have been using my platform to try to scare people into thinking about it And Irsquove had mixed results

Most ask how they can fix their practice and I bang on about immediate curation and printing key images and using Peter Kroughrsquos 321 system (three copies of every digital file in two formats and one being off-site) It doesnrsquot make for great conversation I can see the moment they mentally evacuate This is a huge multi-layered challenge

Recently we saw one of the founders of Google Dr Vint Cerf weigh in Cerf helped kick off this internet thing back at the inception of CERN (European Organisation for Nuclear Research) the LHC (Large Hadron Collider) project that has just began deliver- ing results This project is so large both physically and cooperatively they had to invent the internet to collaborate Vint has been quite adamant that our reliance of digital data storage is a false hope he is worrying about a ldquodigital dark agerdquo

Add Dr Cerfrsquos recent commentary to my fears and I think we have a reality

My personal practice

I believe the solution lies in curation I believe we should be able to identify the images we want to survive and take steps to ensure this happens I believe lsquolessrsquo is the answer

In any one year excluding a major event that needs keeping I distill the year down to sixty photographs A little more than one per week I really enjoy this process it is both self righteously awesome and quite reflective It produces a tidy little collection ready for prints and books

A CURATORIAL CONUNDRUM Paul Atkins

9


That distillation to sixty gives me a short task to ensure these pictures are all keyworded and captioned with locations names of the subjects and in some cases why I took the photo

I then print them all and slip them into an Albox storage folder Occasionally I turn them into a bound book What I do ensure is that they are all printed with a wide white border allowing space for the metadata to be printed Our lab print software handles this well but Lightroom too will execute this nicely for you

The meta problem

So why have I painted this utopia as a conundrum

Already my family members think other photos could be more importanthellipthese photos are my choices This is my record Because it has been shown that photographs distort memory does this make me the arbiter of our memory

In memory manipulation studies the implanting of false memories by researchers has resulted in a 37 percent success rate and using photographs incre- ases that to 50 percent This happened even when the photograph was not a falsified image depicting the false event Just the presentation of an image from that time period carried the necessary authority to disrupt facts Wow

What if I am wrong How am I recording therefore recalling the event

I use my photographic skill to create an attractive image and it is difficult to photograph in tense or negative circumstances Therefore I am afraid I am making a brochure of our livesTo illustrate my point have you ever chosen a hotel room based on a photograph Have you ever felt the reality is better than the photograph

Regardless of the potential distortion if curate too hard alone we are deciding for others what is important I am empowered with a reality distortion field This is why I refer to photography as a super power albeit for a rather slow Marvel Comic

You have to ask yourself what are you trying to achieve Is this even about the truth

I am not prepared to save all of my immediate familyrsquos photographs My wife Kate Burns and two daughters photograph way more that I do They get great joy blasting away where the blasting produces anxiety for me like trying to catch a falling deck of loose cards

Part of me feels the lsquocloud peoplersquo will sort this out The Googles the Apples the Yahoos Apparently they are pointing their face recognition engines at all of our online pictures and they know when eyes are shut and lsquoin-focusrsquo is an algorithm

ONE THOUSAND WORDS

10

Perhaps they will hold our pictures and tell us our truths

But this fundamental truth still holds ndash it gets boring looking a lots of photographs Perhaps it is looking at photographs that is under threat

Stores for the digital winter

I do not delete the images that missed my curation and they do get some metadata applied I do Peterrsquos 321 trick and my curated images are well scattered over a year therefore they should become the catalogue that leads to some kind of truth

And when the digital winter comes and my albums are the only things left because I could not sell my curatorial utopia to my immediate family we will look back on the past with my rose coloured glasses and say lsquothings were much better thenrsquo

References

Peter Krough The DAM book (thedambookcom)

ldquoGooglersquos Vint Cerf warns of lsquodigital dark agersquordquo BBC News (httpwwwbbccomnewsscience-environment-31450389)

Kimberley A Wade et al 2002 ldquoA picture is worth a thousand lies Using false photographs to create false childhood memoriesrdquo Psychonomic Bulletin amp Review 9(3) 597-603

D Stephen Lindsay et al 2004 ldquoTrue photographs and false memoriesrdquo Psychological Science 15(3) 149-154

Paul Atkins is the owner and director of Atkins Photolab and Atkins Pro a professional photography lab in Adelaide The Atkins team manage three commercial photographic collections two of which are over 80 years old the third is entirely digital and is 20 years old The digital collection is regularly accessed and continually added to

website atkinscomau

ONE THOUSAND WORDS

12

Why do we take photos For some a photo is an outlet for creative expression For many itrsquos about being in the moment For a great number an image holds the promise of reliving those moments It is with images like these that storytellers and historians are able to build pictures of our past Not just the lives of the famous but the lives of the ordinary

Are these historical building blocks at risk

In the main the photos taken now are digital Images can be printed and the intent is often there but the last step is frequently never taken The hard drive fails the print never quite gets made The moment is lost

The idea of a burgeoning historical gap that comes with the current wave of mobile phone photographers is far from new Recently Vint Cerf one of the early American internet pioneers spoke about the risk of creating a new digital dark age The solution as he sees it is straightforward print it out or lose it to time But Vintrsquos message is speaking to the individual

A DARK AND PERPLEXING AGE

Rosalie Wodecki

The preservation of history is a shared responsibility and for that we need to look to the large institutions The galleries libraries national archives and museums As well it isnrsquot merely a case of digital vs print Print- ing an image doesnrsquot guarantee permanence There are almost as many problems for the print as for the digital image The National Archives of Australia has a statement for both preserving photographs and preserving digital records showing the risks and solutions inherent in each form Each year roughly 30000 of the National Archiversquos print images are digitised Itrsquos this digitisation and preservation process that gives us the ability to view the images online

Even if large institutions like these are able to overcome the problems and preserve the vast number of images available it raises the possibility of a different sort of problem Given the quantity of digital images how can anyone looking back be expected to find it meaningful Therersquos a double- edged sword at play On the one hand we could lose it all if we donrsquot make a concerted effort to

Old age pensioner in Surry Hills alley with stick Aug 1949 from Series 02 Sydney people amp streets 1948-1950

photographed by Brian Bird

From the collection of the State Library of NSW

ONE THOUSAND WORDS

14

save it On the other hand if we save everything mdashevery single digital snapmdashit is difficult to imagine how future historians could hope to make sense of it

We can already see how overwhelming the task is when organisations dip into the past ndash a past that was not quite so overflowing with images Organisations like the National Archive of Australia regularly reach into their own stockpile of printed images with ex-hibitions that tap into and curate from a rich visual tapestry of everyday life

A Place to Call Home is a simple but insightful look inside the migrant hostels that formed the first lsquohomesrsquo of new Australian migrants It captures the culture and attitudes of the time Faces of Australia is a wall of photographs of Australians at work and play and is a part of the Memory of Nation exhibition Though the images were taken by professionals and were how the Australian Government wanted to present itself at the time they are still a cross-section of the country and the people that lived there

A particularly focused effort at institutional curation was the Museum of Victoriarsquos Biggest Family Album The Albumrsquos aim was to increase the museumrsquos number of images of everyday life taken by ordinary people Between 1985 and 1991 staff from the museum travelled around the state to find select and collect photos Since digitising over 9000 images several collections from the Album have been published taking them from print to digital to print again

All of these exhibitions focus on careful curation both for quality and content The physical existence of those images is what led to their stories being told

Many other institutions and online organisations have started image digitisation projects that offer new ways of using archives

The ABC Open Project encourages Australians to photograph surrounds and people to a theme Water Winter Through the Window Thousands and thousands of shared images with real stories from real people all around Australia At the end of 2014 participants were encouraged to select three of their best Time has been taken and thoughtful consideration given Include exclude ndash the curation has been done but did anyone take the next less obvious step The final measure of respect for these treasured memories is to print them

The Lively Morgue is a Tumblr run by the New York Times that aims to slowly unlock historical treasures from their vast visual vault It is a trove so big that the New York Times doesnrsquot even know how many pictures it holds There are 300000 sacks of negatives alone As they release the images to public view they will also be digitising and attempting to future-proof the collection With only a few images released every week this should likely keep the project going until the year 9000 or so

The Commons is a huge initiative started by Flickr with the main aim to share the unknown treasures of the worldrsquos photo archives Participating institutions contribute the images and share them under a lsquono known copyright restrictionsrsquo statement The images come from all corners of the globe From as close to home as The State Library of NSW and as far away as the Swedish National Heritage Board The list of participants is incredibly long The amount of available images is unfathomable

15


For these online projects the act of selecting the images for digitisation and sharing online is a type of process-driven curation Imagine the same task when considering the enormous stockpile of digital images we have today Somehow at some point there will need to be even more careful curation of the current flood of images Choosing which image to print is the first step Institutional curation is the key

Taking the picture is not enough We need to meaningfully preserve our time for the storytellers of the future

Rosalie Wodecki is a writer based in Adelaide

website threecornerjackcombibelots

ONE THOUSAND WORDS

16

REMEMBERING SIR THOMAS Sarah Eastick

17


I found an amazing photo while going through boxes and boxes of family photographs Itrsquos a photo of my great grandfatherrsquos Therersquos a long and comp- licated history he was an interesting man but when I was a kid pretty much all I knew was ldquoOh thatrsquos great grandparsquos picture on the mantel with the Queenrdquo Turns out he was a well respected soldier who climbed the ranks to Lieutenant Colonel Brigadier a bunch of other titles I donrsquot understand and eventually was knighted in 1970 16 years before my birth

This photo was taken around 1942ndash1943 in the ldquoMiddle Eastrdquo according to the scrawl on the back of the image

Although I never met him I have fond feelings towards Sir Thomas I know how important he was to my Dad After finding this photo Irsquove trawled the internet to get a taste for the kind of man he was Apparently he left school at 12 12 to take care of his ailing mother and five siblings when his father struggled to provide for them in 1912 In 1927 he founded Angas Engineering and would ride his bicycle to the factory in the middle of the night to check on the case hardening of the auto- motive parts He was a ldquofair but firmrdquo father of five apparently and was also a teetotaler who never swore

ONE THOUSAND WORDS

18

A few years after this photograph was taken Thomas liberated the town of Kuching Sarawak from Japanese occupation on Sept 11th 1945 receiving Major- General Yamamurarsquos sword as a symbol of the final surrender of several thousand Japanese soldiers That same day he freed 2000 soldiers men women and children from the Batu Lintang Prisoner of War camp

He stayed at a palace called Astana in Kuching built in 1870 by the White Rajah Charles Brooke Several years after Thomasrsquo return to Australia he built his own family home just outside of Adelaide based on Astanarsquos architecture Unfortunately after his death in 1988 his five sons sold the property

I have memories of my father driving out to the coast and parking out the front of the property long after it had been sold and telling me about the school holidays he spent there with his grandparents and cousins He always relished an opportunity to get away from his motherrsquos cooking Over the years my father would joke that if he won the lottery hersquod knock on the door and offer to give the owners whatever amount of cash they wanted then and there to buy it back Irsquod always planned to become rich so I could buy it for him but I suppose itrsquos not important now

Sarah Eastick is an artist based in Adelaide

ONE THOUSAND WORDS

20

REVIEW The Decisive Moment and Scrapbook Gary Cockburn

Rarely can such a short phrase ndash just three words and 17 characters ndash have demanded so many words in response Rarely can such a simple idea from a single artist have inspired so many others either to do great work of their own in a recognisably similar vein or to argue for entirely different readings of a medium Rarely can a book that changed and defined so much have remained so steadfastly silently inexplicably unavailable except on the second hand market ndash for perhaps 60 of its first 62 years And for all these reasons and more rarely can a reprint have been so eagerly anticipated for so long by so many

The first edition of Images agrave la sauvette The Decisive Moment amounted to some 10000 copies that were made in Paris by the Draeger brothers regarded as the best printers of their time Three thousand were for the French market 7000 more were for the United States where Cartier-Bresson had first exhibited in 1933 (the year after he started using a Leica) These didnrsquot sell quickly and thoughts of a second edition ndash explicitly allowed for in the contract as the photographic historian and curator Cleacutement Cheacuteroux has recorded ndash were put aside

But as we know the central idea in the book is one that came to define much of what we understand about photography ndash or at least a certain aspect of

it ndash and demand increased over subsequent years and decades The relative scarcity of the first run is such that even now originals are changing hands for prices that start at US $600 and go rapidly north with better copies priced at US $2000 or more At the time of writing one was being offered online for US $14000 ndash though that included a personal inscription and a simple drawing from Cartier-Bresson himself

intcent

There are those who have argued that Henri Cartier- Bressonrsquos contribution to photography lacks relevance in our bright colourful new century that his moment has definitively passed but it would be entirely impossible to argue that his work lacks currency

Ten years after his death and some forty years after Cartier-Bresson switched his mindrsquos eye from photography back to drawing the Centre Pompidou in Paris held a 500-image retrospective of his work which reportedly had a three-stage two-hour queuing process His images (or at least the photographic ones) are collected in countless books Here And Now the catalog for the show at the Centre Pompidou is the most recent of these but even if you restrict yourself to the volumes that attempt to span his career in one way or another you can also

21


ONE THOUSAND WORDS

22

choose between The Man The Image amp The World published to celebrate the launch of Fondation HCB The Modern Century from the Museum Of Modern Art in New York and Henri Cartier-Bresson Photo- grapher from the International Center Of Photography

When you add in the more specialised collections (in comparison with other photographers for example) the volumes showing his work in the context of the Magnum collective and the single-subject titles on Europe Russia or India the options for seeing his images multiply rapidly If you just want Cartier- Bressonrsquos words therersquos a book that collects those then there are camera magazines with issues dedicated to him scholarly articles television documentaries and a biography

But finally thanks to Fondation HCB which provided a mint copy of the original and Gerhard Steidl who turned scans of it into a new edition the book central to Cartier-Bressonrsquos reputation and mythology is available again Unwrapping a copy produced a

certain frisson of excitement long before I got to the images or words Itrsquos immediately obvious that The Decisive Moment is a hedonistic delight at least if your idea of hedonism is flexible enough to extend to the tactile and visual pleasure of a photography book

The new edition is exactly the same size as it was before and entirely in line with published measure- ments Yet itrsquos considerable larger and heavier than instinct leads you to expect Steidlrsquos book has gained a slipcase designed to accommodate an accompany- ing essay by Cleacutement Cheacuteroux which preserves the integrity of the book itself by arriving in a separate 32pp booklet Otherwise this edition adds nothing much more than a discrete lsquoSteidlrsquo imprint on the spine an updated copyright notice and ndash inevitably ndash an ISBN (introduced in 1965 if you were wondering)

Title and author aside nothing about the presentation leads you to identify this as a photography book Matissersquos cover seems as fresh crisp and

23


modern as it must have been in 1952 The front perhaps suggests an island paradise in the tropics the back for no obvious reason features five anti- clockwise spirals and one clockwise Itrsquos irrelevant to the content of course but the cover only adds to the beauty of the book

As in 1952 there are two editions Images agrave la sauvette (the original French title again limited to3000 copies) and The Decisive Moment The introductory text by HCB naturally is in French or English accordingly The English language version adds an essay by Richard Simon of Simon amp Schuster on the more technical aspects of Cartier-Bressonrsquos photography This can best be seen as being of its time offering details unlikely to be of relevance today ldquoWhen they know that a film has been taken in very contrasty light they use Eastmanrsquos Microdol and develop to an average of gamma 07rdquo When he says ldquotheyrdquo Simon means Monsieur Pierre Gassman and his Pictorial Service of 17 Rue De La Comegravete Paris He stops short of giving a phone number

Cartier-Bressonrsquos American printers provided Simon with a far more useful morsel ldquoMiss Friesem told me that both she and Mr Leo Cohen the head of Leco were amazed at the softness of quality that Cartier-Bresson insisted on in his prints but when they saw the final mounted prints on the walls of New Yorkrsquos Museum Of Modern Art they knew that he was rightrdquo

Taken with the choice of stock ndash a heavy off-white matt paper that would probably be better suited to an art book ndash this comment explains what might initially be seen as a criticism of the new edition but must also apply to the original The reproduction is rather different to what wersquove come to expect The whites arenrsquot pure the blacks arenrsquot as solid as they would be on glossy paper and the images are softer than they appear in other collections of HCBrsquos work

ONE THOUSAND WORDS

24

Though Cartier-Bresson famously suggested ldquosharpness is a bourgeois conceptrdquo when he was photographed by Helmut Newton my suspicion is that he moved towards crisper prints later in his career Even so the extent of the softness in many of the images comes almost as a shock A large part of this relates to their size ndash a number of photos are over-enlarged Only the slimmest of margins has been left and the bookrsquos dimensions have been chosen so that a single page is filled by a vertical 35mm frame This allows for two horizontal frames per page or one over a spread At a guess some 95 of each page is taken up by the images this isnrsquot a book making creative use of white space

The most important distinction between the 1952 and 2014 editions is in the printing The Draeger brothers employed heliogravure ndash first developed by Henry Fox Talbot back in the 1850s when it was used for original prints The key advantage is that itrsquos an intaglio process with the amount of ink

controlled by the depth to which the plate has been engraved and therefore creates continuous tone prints Speaking to Time magazine Steidl noted ldquogravure printing from the 1950s to the 1970s was really the quality peak for printing photography booksrdquo though the likelihood is that he was thinking of black and white rather than colour photography Nowadays gravure is effectively extinct at least for books and magazines and the new edition uses offset litho ndash the halftone process relying on unevenly sized dots that reveal themselves to a loupe But it should also be noted that Steidl is widely seen as the best photographic printer of his time just as the Draegers were and by all accounts has taken a rigorous approach to achieving a similar look

Though many aspects of the design seem unusual or eccentric by todayrsquos standards ndash handing the cover to someone else the off-white paper deliberately aiming for soft images ndash that would also have been true back in the fifties Together they offer

25


a clear opinion on a very old question which ndash even now ndash still gets an occasional run out can photography be art

intcent

The quality of the new edition wouldnrsquot much matter if the work wasnrsquot still relevant or if photographers didnrsquot still have something to glean from Cartier- Bresson In my opinion it is and we do and the latter is neatly facilitated when The Decisive Moment is considered alongside Scrapbook a Thames amp Hudson publication that also went through Steidl To tie in with the new edition of The Decisive Moment ndash presumably ndash Scrapbook was reprinted at almost exactly the same time Another facsimile edition though necessarily a less rigorous one it provides invaluable context The general reader now has the opportunity to see Cartier-Bressonrsquos work as he saw it in the late forties and early fifties perhaps the single most important period in a

career that eventually spanned half a century And as wersquoll see a little later itrsquos a time when one of our great artists was in flux moving between one form of photographic practice and another after dabbling in another medium

Scrapbook owes its existence to the Second World War and Beaumont Newhallrsquos decision to hold a posthumous exhibition of Cartier-Bressonrsquos work at the Museum Of Modern Art in Manhattan Thankfully HCB proved to be detained rather than deceased and eventually managed both to escape and to retrieve the Leica hersquod buried in Vosges Though by now he was more interested in film-making than photography he decided to cooperate with the exhibition only to realise that obtaining the necessary supplies to print his work in Europe was too difficult So he decamped to New York arriving in May 1946 and immediately bought a scrapbook He used this to gather the images he had taken with him

ONE THOUSAND WORDS

26

When it was rediscovered years later the scrapbook had been partly disassembled with many of the prints removed Where they still exist sheets are reproduced in their entirety but slightly reduced in size typically with eight small images per page Otherwise the prints themselves are shown at their original dimensions typically with one or two images per page Though in a handful of cases new prints have been necessary for the most part the images are reproductions of original work prints made by Cartier-Bresson himself In itself this proves to be of interest Comparing them to the exhibition prints used for The Decisive Moment allows us to see significant variations in tonality but also some minor corrections to the cropping that might for example remove an unidentifiable distraction at the very edge of a frame Half a foot perhaps or a rock Though these are indeed minor changes and infrequent many photographers will find themselves heartened by their existence

In addition to the photos Scrapbook contains two essays One is by Agnes Sire director of Fondation HCB on the stories behind the book the other is by Michel Frizot author of A New History Of Photo- graphy on the lessons it contains Both are well worth reading and much of the information in this article is drawn from them

In all the body of Scrapbook contains 346 photos arranged chronologically and taken between the purchase of HCBrsquos first Leica in 1932 and his departure for New York in 1946 There are no images made between 1939 and 1943 and this is also true of The Decisive Moment At the start of that period Cartier-Bresson was working as an assistant director on Jean Renoirrsquos masterpiece The Rules Of The Game (which Renoir described as a ldquoreconstructed documentaryrdquo about the condition of society at the time set against the eve of World War II) And then of course the war did break out HCB enlisted and was soon transferred to the armyrsquos film and

27


photography unit at about the same time Renoirrsquos film was banned by the French government for being depressing morbid and immoral Cartier-Bresson was captured by the Germans nine months later

For the MoMA exhibition the early images from Europe and Mexico that are collected in Scrapbook were supplemented with new photos made while Cartier-Bresson was in America and edited down to 163 prints that were displayed from 4 February to 6 April 1947 Scrapbook and the exhibition have another significance since the lunch that launched Magnum is known to have taken place in the MoMA restaurant at Robert Caparsquos initiation while the show was running

These two sets of images (those in Scrapbook or taken in America while Cartier-Bresson prepare for exhibition) form the basis of the early work collected in The Decisive Moment

intcent

In my imagination ndash exaggerated no doubt by its unattainable iconic status and an expectation that the images would hone in on the idea expressed in its title ndash The Decisive Moment was always something of a manifesto a touchstone of what matters in documentary photography Capa went so far as to describe it as ldquoa bible for photographersrdquo and Cleacutement Cheacuteroux has taken that comment as the title for his essay which is on the history of the book

The real surprise ndash for someone anticipating a rather singular work ndash is that The Decisive Moment is divided so plainly into old and new testaments

With only minor exceptions the work is separated into images of Occident and Orient and this demarcation coincides neatly with two separate stages of HCBrsquos career With only minor exceptions the images from Europe and Mexico were taken between 1932 and 1946 ndash the period covered by

ONE THOUSAND WORDS

28

Scrapbook Those from the USA were taken primarily in 1946 and 1947 as noted above though a 1935 visit is also represented The images of the Orient were taken between late 1947 and 1950 after the establishment of Magnum

The two sections are both broadly chronological and the variations seem to be for organisational or sequencing purposes Occidental portraits for example are gathered together towards the end of the section Oddly perhaps there are no Oriental portraits Indeed the only named individuals are Gandhi and Nehru who both appear in broader situational images

Cartier-Bresson regards the foundation of Magnum as the point at which he became a professional That could be argued since (along with Robert Capa and David Seymour) he was a staff photographer for Ce soir (an evening newspaper produced by the French Communist Party) between 1937 and 1939 But therersquos a clear shift in his work in the second half of the book Though his introductory essay examines

his photographic philosophy in depth it makes no real attempt to explain the difference between the two sections of the book

Instead the best explanation for this comes in Scrapbook where Agnes Sire addresses the foundation of Magnum and (indirectly) reports a comment that Capa made to HCB ldquoWatch out for labels They are reassuring but theyrsquore going to stick you with one you wonrsquot get rid of that of a little Surrealist photographer Yoursquore going to be lost yoursquoll become precious and mannered Take the label of photojournalist instead and keep the rest tucked away in your little heartrdquo

Though HCB worked on stories in this early phase of his career (including King George VIrsquos coronation celebrations in London) he was also afforded a fair degree of freedom in what he covered for Ce soir and the first part of The Decisive Moment consists almost entirely of single images fundamentally unrelated to those around them (Even so they were sequenced with care and consideration if not

29


the start-to-finish expressive intent that can be seen in Robert Frankrsquos The Americans which followed just six years later)

In the second part of The Decisive Moment when the images arenrsquot sequenced in stories they are at least grouped by the cultures they explore the Indian sub-continent China Burma and Indonesia the Middle East Whether Caparsquos advice was sound or not ndash in the longer term it runs contrary to the general direction Magnum has taken which is from photojournalism to art ndash it certainly seems that Cartier-Bresson followed it

In reality rather than being a manifesto The Decisive Moment is closer to being a retrospective If you wanted to produce a book to illustrate the concept of The Decisive Moment to best effect limited to photos taken in the same time span this wouldnrsquot be it Two of the greatest examples of the idea (of a cyclist rounding a corner seen from above and of two men looking through a hessian sheet) are

missing And the second half of the book comes closer to the story told in several images than the single photo that says it all

In 2010 Peter Galassi curator of two major Cartier- Bresson exhibitions and an essayist in a number of collections of the work went so far as to dismiss almost all of his books ldquoThe hard truth is that among nearly half a century of books issued in Cartier-Bressonrsquos name after The Decisive Moment and The Europeans not one is remotely comparable to these two in quality either as a book in itself or as a vehicle for the work as a wholerdquo

Galassi went on to offer an explanation ldquoUltimately the editing and sequencing of Cartier-Bressonrsquos photographs the making of chemical photographic prints and ink-on-paper reproductions ndash in short everything that lay between the click of the shutter and a viewerrsquos experience of the image ndash was for the photographer himself a matter of relative indifferencerdquo

ONE THOUSAND WORDS

30

Itrsquos an idea that seems to be instantly rebutted by a comparison of Scrapbook and The Decisive Moment By and large the editorial choices made in refining the work for The Decisive Moment are impeccable though portraits are an exception (Taken together the condensation of these suggests that decisions were influenced as much by the importance of the subjects as by the strength of the images Itrsquos no great surprise that such issues would play a role but at this distance sixty years removed and several continents away the identity of the subject is often irrelevant)

The reality however is that Galassi has a very reasonable point Scrapbook represents something close to the fullest possible set of HCBrsquos earliest images since he destroyed many of his negatives before the war (In a conversation with Gilles Mora he said ldquoI went through my negatives and destroyed almost everything hellip I did it in the way you cut your fingernailsrdquo) As such Scrapbook also represents the period when Cartier-Bresson was most active

in editing and refining his work Similarly he printed his own work during the early period of his career but later delegated that responsibility to photo labs even if he maintained strong relationships with them

Comparing the second half of The Decisive Moment with later compilations of Cartier-Bressonrsquos work tells a very different story about his skill or interest with regard to editorial decisions As an example the story on the assassination of Gandhi and its aftermath is represented in The Decisive Moment with five photos and illustrated elsewhere with at least ten additional images

The best coverage is in Magnum Stories This was put together by Chris Boot who worked for the agency for eight years serving as director of both Magnum London and separately Magnum New York For some reason Henri Cartier-Bresson Photo- grapher almost completely ignores the story using only an uncaptioned crowd shot in which it seems that a spindly young tree is bound to collapse under the weight of people using it to view the funeral

31


service The Man The Image amp The World presents another variation introducing three more images and also represents an improvement on the coverage in The Decisive Moment

The coverage elsewhere isnrsquot better just because it has more space to tell the story the unique photos in Magnum Stories and The Man The Image amp The World are in both cases far stronger than the unique images in The Decisive Moment Nor could it be argued that the images in The Decisive Moment are better compositionally or in how they capture the historical importance of the assassination or in how theyrsquore sequenced overall Magnum Stories wins easily on all counts

One of the more puzzling aspects of this relates to Cartier-Bressonrsquos film career Cinema by its very nature is a medium in which editing and sequencing are paramount While making The Rules Of The Game HCB worked alongside one of the great directors on one of the great films and he also worked on a number of other films and documentaries Yet

therersquos very little about his subsequent photography or the presentation of it to suggest that his approach was influenced by these cinematic diversions

Regardless the second half of The Decisive Moment is far more loosely edited and weaker than the first Thatrsquos probably inevitable though Cartier-Bresson now regarded himself as a professional photographer itrsquos still the case that the first half of the book represents the highlights of a 14-year period in Europe and the Americas and is pitted against just three years in the Orient

Cartier-Bressonrsquos first tour of the East is also marked by a different style of working apparently in line with Caparsquos suggestion on the relative merits of Surrealism and photojournalism As mentioned above HCB had certainly worked on stories in the early part of his career but they become far more prominent in the second half of The Decisive Moment Occasionally they amount to narrative explorations more often they show different perspectives on a particular theme or subject

ONE THOUSAND WORDS

32

Yet the transformation isnrsquot complete The Decisive Momentrsquos Oriental photos are both more straightforward and more journalistic innovative visual ideas are more thinly spread Facts are more prominent especially in the captions which are considerably more detailed than for the first half of the book But these later images donrsquot drop the artistic principles HCB had already established and though everyday reality takes precedence it hasnrsquot completely overridden Cartier-Bressonrsquos hope of finding essential truth

Thus therersquos an observable tension between his instincts ndash towards Surrealism and the supremacy of the single image ndash and the working patterns that he had chosen to adopt And of course later collections of HCBrsquos work often switch back to the single-image approach or something close to it thereby emphasising a continuity in his early and l ate work that isnrsquot as easily seen in the shorter and wider view provided by The Decisive Moment

Galassi also argued for two variations on The Decisive Moment which can perhaps be characterised as the moment versus the momentous (though the definition of the latter is broader and more ordinary than the word suggests) Broadly speaking this distinction holds Events in India and China in particular fall into the second category

intcent

In very different essays Alistair Crawford (in issue 8 of Photoresearcher shortly after HCBrsquos death) and Gaby Wood (in the London Review Of Books 5 June 2014 in response to the exhibition at Centre Pompidou) have both taken on the idea that The Decisive Moment isnrsquot the best descriptor of Cartier- Bressonrsquos essential method Yet they ended up in very different places

Crawford an artist photographer and research professor at the University Of Wales focuses on HCBrsquos relationship with Surrealism and how this

33


arises from the speed with which the camera can interrupt time But he also goes on to suggest that Cartier-Bressonrsquos mastery had more to do with the realisation that ldquomeaning could be imposed not released by accepting a particular justification of totally unrelated events which could become unified in the photograph that is when they fell into a unifying compositionrdquo To paraphrase the point Crawford expresses elsewhere in the article Cartier- Bressonrsquos decisive moment was constructed by selecting those images that worked Personally I think this does Cartier-Bresson a disservice My own view is that he was indeed focused very much in the moment and that this was essential to the success of his work but wersquoll return to that later

More interestingly Crawford goes on to suggest that Cartier-Bresson when he was working as a photojournalist soon recognised that ldquoby dislocat- ing his images from that about-to-be-forgotten magazine story (over 500 of them) and placing

them in a different sequence on an art gallery wall hellip he succeeded in removing his images from lsquomerersquo journalism and placed them into the arms of the art loverrdquo In Crawfordrsquos view HCB unlike his contemporaries understood that the value was in the image itself not the story In conversation with Gilles Mora Cartier-Bresson said something similar ldquoBut ndash and this is my weak point ndash since the magazines were paying I always thought I had to give them quantity I never had the nerve to say lsquoThis is what I have four photos and no morersquordquo

In an article that focuses largely on the photojourn- alistic aspects of HCBrsquos work Wood suggests that in effect The Decisive Moment means the right moment and adds that this ldquois the worst of his legacyrdquo The MoMA show ldquowas more of a retrospective than anyone could have guessed marking the end of Cartier-Bressonrsquos work in that artful vein From then on he was firmly of the world ndash bringing news bearing witness Hersquod taken Caparsquos words to heartrdquo

ONE THOUSAND WORDS

34

A little later she adds ldquoFor a man whose photojournalism began in the 1930s propelled by ideas of political engagement he was markedly uninvolvedrdquo Though Wood makes sure to praise Cartier-Bresson shersquos at her most interesting when shersquos more critical ldquoThe reason his photographs often feel numbly impersonal now is not just that they are familiar Itrsquos that theyrsquore so coolly composed so infernally correct that therersquos nothing raw about them and you find yourself thinking would it not be more interesting if his moments were a little less decisiverdquo

intcent

The question of exactly how to translate the French title of the work (Images agrave la sauvette) seems to be one thatrsquos affected as much by the writerrsquos stance on Cartier-Bressonrsquos work as it is by linguistic rectitude Should it be ldquoimages on the runrdquo Or ldquoimages on the slyrdquo Was Cartier-Bresson trying to suggest that The Decisive Moment is always fleeting or that the observer should go unobserved

Therersquos enough evidence in his contact sheets to suggest that the better interpretation is one that values the candid image over the hasty one-off On occasion different negatives employing the same basic geometry or cityscape have been used for publication andor exhibition Seville 1933 (The Decisive Moment plate 13) depicting a hole in a wall through which children can be seen playing exists in another version in which the children have come through the wall (The Modern Century p 95) The issue of alternative photos from the same underlying situation is also explored in Scrapbook

Still on the question of the title of the work but looking at it from a different angle it turns out that significant facts and details are still being revealed One such example can be found in the list of alternative titles that Cheacuteroux includes in his essay on the history of The Decisive Moment

35


Over the years much has been made ndash including by HCB himself and in Crawfordrsquos essay ndash of the idea that the title of The Decisive Moment came from the American publisher Even Agnes Sire director of FHCB records in one of Scrapbookrsquos footnotes that the English title was extracted from the epigraph Cartier-Bresson chose (ldquoThere is nothing in this world without a decisive momentrdquo ndash Cardinal de Retz) and that this was at the hand of Richard Simon

Yet Cheacuteroux notes that HCB provided a list of 45 possible titles and illustrates this with a reproduction of a crumpled typewritten piece of paper that is now among the materials held by Fondation HCB ldquoAmong the recurring notions twelve dealt with the instant eleven with time six with vivacity four with the moment and three with the eyerdquo

Second on the list ldquoImages agrave la sauvetterdquo Fourth ldquoLrsquoinstant deacutecisifrdquo Not an exact parallel perhaps but so close as to make no difference Elsewhere on the list there are a number of other concepts that stand rather closer to the latter than the former

intcent

In the second part of his career the beginnings of which are seen in The Decisive Moment Cartier-Bresson positioned himself within the sweep of history Yet this was never his primary interest It was closer to being a disguise a construct that allowed him to pursue his main preoccupations ndash the human details of everyday life ndash while presenting himself as a photojournalist (Cartier-Bresson once paraphrased Caparsquos comment about the dangers of being seen as a Surrealist rendering it more bluntly he ldquotold me I should call myself a photojournalist or I wouldnrsquot get paidrdquo)

Though at times he identified as a communist Cartier-Bressonrsquos real interest isnrsquot in the collective nor the structures of society Itrsquos in the relationships between individuals and between an individual and his or her immediate surroundings Itrsquos very much in the moment and yet outside history Itrsquos

ONE THOUSAND WORDS

36

in the universal and the timeless Something else Cartier-Bressonrsquos meaning is invariably within the image A caption here or there might be useful in providing context but anything resembling an artist statement would be entirely superfluous

intcent

The Observerrsquos photography critic Sean OrsquoHagan recently wrote ldquoWhat is interesting about the republi- shing of The Decisive Moment is that it has happened too laterdquo He went on to add that it ldquocements an idea of photography that is no longer current but continues to exist as an unquestioned yardstick in the public eye black and white acutely observational meticulously composed charming Colour and conceptualism may as well not have happened so enduring is this model of photography outside the world of contemporary photography itselfrdquo

Photography is undoubtedly a broader church now than it was when The Decisive Moment was first

published but on a deeper level OrsquoHaganrsquos response seems to be an unsatisfactory ungenerous one A single book cements nothing and even if it were agreed that HCBrsquos work was no longer of even the remotest relevance republication of the work can only be too late if therersquos nothing more to learn from it

The issue of conceptualism is slightly more difficult Starting with a cavil The Decisive Moment is in itself a grand concept and a useful one On the other hand itrsquos also clear that Cartier-Bressonrsquos presentation of his work has little or nothing in common with the gallery practice of conceptual photography nor much else in the way of current art practice

More generally conceptualism obviously has much to offer both in photography and the broader field of the visual arts Yet it also has flaws and limitations ndash as every movement inevitably does ndash and one way to identify and move past these might be to look at what has worked or hasnrsquot worked at other times in the history of art and photography

37


intcent

Having noted in 2003 that when the word can be used to describe a hairdresser it has obviously fallen into disrepute the writer and critic AA Gill then went on ldquoif you were to reclaim it for societyrsquos most exclu- sive club and ask who is a genius therersquos only one unequivocal unarguable living member Henri Cartier-Bressonrdquo Gillrsquos interview with Cartier-Bresson originally published in the Sunday Times is worth seeking out capturing a delicate grump-iness that isnrsquot easily seen in the photos Gill is also unusually succinct about the drawing that Cartier-Bresson eventually graduated to describing it as competent but unexceptional with terrible composition

Leaving aside that comment about genius ndash and remembering that Gill is now primarily a restaurant critic rather than a member of any photographic establishment ndash itrsquos probably not unfair to say that HCB or rather his reputation occupies a difficult

position in contemporary photography Among those who express a level of disdain for Cartier-Bresson there seems to be a single thread that goes to the heart of it a belief that his work is in some way charming or twee often matched with a stated or implied longing for some of Robert Frankrsquos dirt and chaos

Strangely enough comparing Cartier-Bresson and Walker Evans ndash who knew and inspired both HCB and Frank ndash proves to be of considerable interest in understanding why this might be

Photographing America (another collaboration between Fondation HCB Thames amp Hudson and Steidl) brings the two together with the Frenchman represented by images made in 1946-47 while he was in the States for the MoMA show Something quickly becomes apparent Walker Evans with images primarily from the thirties shows couples in cars cars complementing a hat and fur coat cars in rows neatly parked cars as a feature of

ONE THOUSAND WORDS

38

smalltown life cars in their graveyards and cars as quaint antiques (with this coming as early as 1931) Cartier-Bresson shows cars in the background

There are two notable exceptions In one image he shows a woman with a bandaged eye at the wheel of a stationary car in another he shows a wrecked chassis in the wastelands of Arizona The wheels are nowhere to be seen what might once have been the cab but is probably another abandoned car is slightly further away In the distance an obdurate steam train chugs sootily across this desolate land- scape parallel to a horizon that might have been borrowed from Stephen Shore The same is true of every other Cartier-Bresson collection that Irsquove seen the car hardly appears and when it does itrsquos almost always incidental to the photo

Therersquos no need to mount any similar analysis of the importance of cars within Robert Frankrsquos masterwork The Americans theyrsquore central to it Though they appear less frequently the same can also be said

of gasoline stations television the jukebox and a number of similar elements With an image apparently of a starlet at a Hollywood premiere in front of what might be a papier macirccheacute backdrop perhaps Frank even takes on the far more abstract issue of how the media changes our view of the world In short Frank fits far more easily into our current conversations about art and photography dealing with the symbols and surfaces viewpoints and dialectics that have come to dominate large parts of our discussion And clearly the relationship between individuals and society and the power structures we live within are dealt with much more effectively by photographers such as Frank than they are by Cartier-Bresson

For the record if I was held at gunpoint ndash perhaps by a rogue runaway student from the Dusseldorf School ndash and forced to nominate the more important book The Americans would win and easily enough Itrsquos articulate and coherent in ways that Cartier-Bresson

39


didnrsquot even think to address Frankrsquos sequencing in particular is something that almost all of us could still learn from Including HCB Yet I also think that many of those who lean more heavily towards Frank and believe ndash on some level ndash that Cartier-Bressonrsquos work is old-fashioned or quaint or has lost its impact are missing something truly vital

In the current era art demands an expression of intent of one sort or another Itrsquos not enough to create beauty or to represent the world in this medium or that Wersquove come to expect some presentation of the artist On the face of it what Cartier-Bresson presents is the world itself largely on its own terms ndash by which I mean that he makes no attempt to impose an agenda ndash and I suspect thatrsquos also part of the reaction against him But itrsquos a shallow reaction when art allows meanings to become too certain it serves no real purpose

In all of this I think itrsquos possible that Frank tended towards the same mistake Speaking about Cartier- Bresson at an extended symposium on Photo- graphy Within The Humanities Wellesley College Massachusetts in 1975 he said ldquocompared to his early work ndash the work in the past twenty years well I would rather he hadnrsquot done it That may be too harsh but Irsquove always thought it was terribly important to have a point of view and I was always sort of disappointed in him that it was never in his pictures He travelled all over the goddamned world and you never felt that he was moved by something that was happening other than the beauty of it or just the compositionrdquo

In the stark perfection of his visual alignments Cartier-Bresson can seem static in comparison with Frank The energy and emotion in Frankrsquos work is obvious in The Americans he leaves you with the sense that hersquos always on the move and doesnrsquot necessarily stop even to frame his images But when

ONE THOUSAND WORDS

40

you look more closely at the people in the photos something else becomes apparent Frank may be on the move but his subjects are fixed When he photographs a cowboy ndash since Frank is using him as a cipher in the stories that Frank wants to tell ndash the cowboy is forevermore a cowboy and this symbolic existence is entirely within the photographic frame

With Cartier-Bresson we never have that feeling Because the photographer is entirely in the moment his subjects too are in the moment They tell their own stories and we simply donrsquot know what happens next No external meanings are imposed on Cartier- Bressonrsquos subjects and thus no restrictions are placed on their futures They live before our gaze and after it

Lee Friedlander ndash who also made brilliant images in the streets particularly of New York and once described his interest as the ldquoAmerican social land- scaperdquo ndash can probably be regarded as another photographer who rejected much of Cartier-Bressonrsquos

vision I certainly think itrsquos true as many others have said that he Winogrand and Meyerowitz consciously discarded the humanism of earlier documentary photography But speaking to Peter Galassi Friedlander made a remark that I think is of immense relevance in trying to understand Cartier-Bressonrsquos central animus Galassi was the curator for a 2005 survey of Friedlanderrsquos work and later reported that the photographer made three extensive trips to India forming the impression that he was making great images When he got back to his darkroom Friedlander realised that hedidnrsquot really understand the country and his pictures were dull In Friedlanderrsquos words ldquoOnly Cartier-Bresson was at home everywhererdquo

Since Cartier-Bresson was in the end just another human that canrsquot be true of him Yet it doesnrsquot in any way lessen what has to be seen as an astonishing achievement when you survey The Decisive Moment or his career it really does look as if he was at home everywhere And also in some way detached disconnected from a predetermined viewpoint The question then is how

41


There is in my view a degree of confusion about artistic and journalistic objectivity and I think it underlies many of the less favourable comments about Cartier-Bresson Journalistic objectivity is essentially about eliminating bias But railing against journalistic objectivity in favour of taking a stand as Frank did doesnrsquot bring anyone to artistic objectivity which comes from the understanding that life itself is far deeper stranger and more important than the viewpoint of any one artist or photographer This goes hand-in-hand with something else that HCB also understood but which so much photography since wilfully denies that relationships between others and the world are of greater interest than the relationship between camera and subject Or for that matter between photo and viewer

All of this can be seen in Cartier-Bressonrsquos photography as well as in his essay for The Decisive Moment and his other writings No matter that he came to call himself a photojournalist and change his working practices it was always artistic objectivity

he was aiming for If he seemed to achieve an unusual degree of journalistic objectivity that was coincidental

Though Cartier-Bresson focused his efforts on the moment and the single image largely ignoring what came after the click of the shutter in doing so he stepped outside time and into the universal The specifics in any given photo fell into place as sooner or later they always have to and he was there to truly see with neither fear nor favour On the artistic level I think the humanism he spoke of was essentially a ruse an easier way of talking to the world about his work

In the end even the argument Irsquove presented so far doesnrsquot really do justice to Cartier-Bresson since itrsquos obvious from his photos that his understanding went still deeper We can see something of this in his comment reported in American Photographer in September 1997 that a photographer who wants to capture the truth must accurately address both the exterior and interior worlds The objective and

ONE THOUSAND WORDS

42

subjective are intertwined wholly inseparable Though HCBrsquos images present the world on its own terms they also present the photographer on his What they donrsquot do however is provide a neat summation or a viewing platform With Cartier-Bresson things are almost always more complex than they appear And more simple Therersquos always another layer to peel back another way to look Yet that takes us away from art or photography and into another realm entirely Little wonder that he was sometimes likened to a Zen master

That his Surrealism was found rather than created as noted by Geoff Dyer and others is right at the centre of Cartier-Bressonrsquos meanings He serves us not just with pungent visual narratives about the world but with a reminder to be alive to look and to be aware of the importance of our senses and sensuality In so far as Cartier-Bressonrsquos oeuvre and thinking exist outside the terms of current artistic discourse that should be seen as a limitation of the

conversation and our theories ndash not his work not his eye and certainly not his act of seeing Just as his subjects lived after our gaze so too will his extraordinary images

Gary Cockburn is an Adelaide-based photographer and writer

website garycockburnphotographycom

Book Details

The Decisive Moment by Henri Cartier-Bresson Steidl 160pp + booklet euro98 Scrapbook by Henri Cartier-Bresson Thames amp Hudson 264pp pound50

ONE THOUSAND WORDS

44

In 1969 I arrived in London after an arduous journey travelling from Burma mostly overland With my partner Australian artist Kate Burness we had crossed India Pakistan Afghanistan Iran and Turkey by road in winter before taking the last leg of our journey from Istanbul to London on the Orient Express I was exhausted unwell and down to my last few pounds and needed quicklyto sell rights to some of the photographs I had made on the passage to London Several countries we passed through were in visible crisis Bangladesh was turbulent with the desire to dissolve its uneven partnership with Pakistan and Burma was under strict military rule from what its leader General Ne Win curiously named lsquoThe Burmese Road to Socialismrsquo With a small edited portfolio of colour transparencies under my arm I made my way along a bleak wet Fleet Street to number 145 mdash the first floor offices of a legendary agent for photographers John Hillelson who also represented Magnum Photos in London

Walking through the entrance I saw that The John Hillelson Agency was on the first floor and started to make my way up a dark flight of worn wooden stairs I had only taken a few steps when a tall figure whose face I barely saw wearing a raincoat and hat brushed past me at speed almost knocking me off balance I continued up the stairs and entered Hillelsonrsquos office a small cluttered room with several desks and a typewriter to be greeted with restrained

European courtesy lsquoPlease take a seatrsquo said Hillelson pointing to a rotating wooden office chair with a curved back I was slightly nervous as it was my first encounter with the legendary agent and I was still cold from Fleet Street As I sat down I noticed the chair felt warm perhaps from the man going down the stairs lsquoThe chairrsquos still warmrsquo I said to make conversation lsquoYesrsquo Hillelson replied casually as he began to arrange my portfolio for viewing lsquoCartier just leftrsquo His abbreviation could mean only one thing I had almost been skittled on the stairs by the man who at that time was the most famous influential (certainly to me) photo-journalist in the world mdash Henri Cartier-Bresson The moment felt both epic and comical As I listened to Hillelson unsentimentally dissect my pictures I realised I had remotely received the most personal of warmth from the great man

Hillelson and I would never meet again though a few years later Penguin Books contacted my London agent Susan Griggs as they had heard I had taken a picture in Rangoon they thought would suit as the cover for a new paperback edition of George Orwellrsquos novel Burmese Days A graphic mono- chromatic colour image of a Burmese man ferrying his curved boat across the Irrawaddy later appeared on the cover of the paperback novel I have no way of proving it but a word from Hillelson in a publisherrsquos ear meant something in those long ago days

ME AND HC-B

Robert McFarlane relates a fleeting encounter with Cartier-Bresson

45


ME AND HC-B


Robert McFarlane is an Adelaide-based photographer and writer He is a documentary photographer specialising in social issues and the performing arts and has been working for more than 40 years

This piece was first published in Artlines no3 2011 Queensland Art Gallery Brisbane p23

ONE THOUSAND WORDS

46

During pre-production for a documentary on the work of Australian photographer Robert McFarlane the strategy for using still images while keeping the content dynamic has been vague defined has had light-bulb moments and travelled all the way back to vague again

The main thing that has continued to come up and something McFarlane talks about in relation to his work is letting the images speak for themselves

A running case has been made for a close look at the proof or contact sheet coming to rest on the final image published or chosen as the image

I have been inspired by the series Contact which does just this moving across the proof sheet to rest on an image and also by the recent Magnum exhibition Contact held at CO Berlin Shooting the film this way is a recognition of the mistakes and a celebration of the process of photographing

Another simple device is to leave the still image for longer on the screen hoping what is said on the audio track will create its own sense of movement of thought This happens naturally given the content of a body of work that explores issues such as politics social injustice accurate witness and non-posed portraiture

Still Point Director Mira Soulio and DOP Hugh Freytag Photograph by Robert McFarlane

Filming Robert McFarlane

Mira Soulio

47



Mira Soulio

ONE THOUSAND WORDS

48

Still a documentary film has to keep its audience connected It has the moving element of the interview the animated spokespeople describing thoughts and providing a personal or analytical angle yet there must be something of the general drift of the film its journey which ties in with its visual style

A third filmic element we use captures movement of objects toward each other the surface of a road travelling past the sense of travel through a space reflections of the environments and spaces of the images themselves This cinematic device or element is inspired by McFarlanersquos most cinematic images and also by a line from the TS Eliot poem Burnt Norton in The Four Quartets

At the still point of the turning world Neither flesh nor fleshless

Neither from nor towards at the still point there the dance is

The idea that Robert expounds the tendency towards waiting for an image to emerge from life grows around the idea of photographer and subject moving towards a moment amongst many potential moments of representation

Hopefully that can be conveyed in a film about a process of moving and persistence the current moment and memory intertwining and providing us with an engaging portrait of a photographer and his work

Mira Soulio is a documentary filmmaker Together with Gemma Salomon she is making a documentary on the life and work of Robert McFarlane A teaser from The Still Point documentary can be seen on Vimeo

video vimeocom123795112

ONE THOUSAND WORDS

50

Now more than fifty years into the game ndash and with a retrospective exhibition which toured the continent for two years to bear witness to that ndash Robert McFarlane occupies a unique position in Australian photography Yet itrsquos not just the length of his career or the quality of his mainly documentary images ndash covering politics social issues sport the street and more ndash that makes McFarlane such an influential figure Looking to an earlier generation Max Dupain Olive Cotton and David Moore all reached or exceeded that milestone and told us something of vital importance about the nation and its people (as indeed McFarlane has) The essential additional factor is that with his reviews and features for The Australian the Sydney Morning Herald and the Australian Financial Review various magazines and innumerable catalog essays McFarlane has also been central to our conversations about photography and its relationship with the broader culture When a car magazine decides for whatever reason that it needs an article about photographer Alexia Sinclair and her beautifully conceived painstakingly constructed images of regal women in history itrsquos McFarlane they turn to

McFarlane isnrsquot just someone whorsquos lived in photography hersquos thought long and hard about it and hersquos approached his dissection of the medium with an open mind and a fine eye

The title of the career retrospective Received Moments goes to the heart of some of McFarlanersquos thinking Obviously enough the idea occupies a similar space to Henri Cartier-Bressonrsquos formulation of the decisive moment but McFarlane approaches it from a more instructive angle The received moment brings our attention directly to the process behind the image which isnrsquot necessarily true of the decisive moment As such the received moment is an idea well worth exploring and placing within the context of McFarlanersquos work and career

To describe Robert as a fierce intelligence would give you a reasonable idea about his mental acuity while being completely misleading about his personality Having first met him four years ago after he spoke at Candid Camera an exhibition about Australian documentary photography that his work featured strongly in Irsquove been fortunate enough to enjoy his kindness warmth and humour ever since McFarlane is someone who delights in talking about photography and in sharing his knowledge and expertise with other photographers

Even so I approached our discussion with a degree of trepidation His apparently endless curiosity and an inclination to follow ideas to their central truth even if thatrsquos tangential to the original line of thought ndash not to mention an impressive set of anecdotes

Received Moments This is the first part of a conversation Gary Cockburn had with Robert McFarlane

51


Robert McFarlane 2012 by Gary Cockburn

ONE THOUSAND WORDS

52

including one about the time he prevented a leading politician fighting with a mutual friend in a restaurant ndash can result in a conversation with McFarlane heading in unexpected directions very quickly indeed In that regard the thought of keeping an interview with McFarlane on track feels akin to the idea of herding cats As it turned out for the most part I neednrsquot have worried

We talked first about his introduction to photography Born in Glenelg a beachside suburb just south of Adelaide McFarlane was given his first camera when he was about eleven though at that stage he wasnrsquot interested in photography

ldquoFor some reason my parents decided it would be nice to get me a Box Brownie which would be mine but other people would use it as well Initially I was just really surprised that you could relive experiences ndash that was the primitive understanding I had of photography And I kept just taking photos and it gradually expanded into a more serious interest

ldquoWhen I was in high school this rather eccentric chap called Colin West from Kodak came and instructed us on developing and contact printing ndash I didnrsquot know about enlarging in those days ndash every couple of weeks Irsquod had a very bad experience processing some negatives that Irsquod taken so I said lsquoMr West I donrsquot know what Irsquove done wrong with this I used the developer and I used the stop and I used the fix but the negatives are totally black He said in his rather clinical way lsquoWhat temperature did you develop them atrsquo And I said lsquoTemperaturersquo Adelaide had been going through one of its periodic heatwaves and I must have developed at ninety or a hundred degrees or something So that was the

first hard lesson I had the medium demands that you conform technically Gradually I got betterrdquo

If Kodak took care of McFarlanersquos technical education or at least the start of it his visual education was rather more haphazard

ldquoIt was primitive really ndash Irsquove never been to art classes or anything like that There were paintings in the house I grew up in but they were basically of ships because we had a history of master mariners in our past ndash at least two captained ships that brought people to Adelaide in fact But I always felt guided by my eyes I loved chaos and nature We had an overgrown garden which dad kept saying he should do something about and I would say lsquoNo no no Itrsquos lovely the way it isrsquo The first book that I ever saw with colour photographs was the Yates Rose Catalog and I remember thinking lsquoGee I rather like thatrsquo

Another surprising early influence on McFarlanersquos photography was Samuel Taylor Coleridge ldquoHe was an imagist poet really He didnrsquot so much write about feelings as he wrote about visual images Images of extraordinary surreal scenes lsquoAs idle as a painted ship upon a painted oceanrsquordquo But itrsquos an influence that ties McFarlane to his family heritage ldquoMy father worked as a shipwright in the familyrsquos slipway in Port Adelaide until my mother decided he needed to have a proper job and he went to work at the Wheat Board The sea was always part of our upbringing and I love the mythology of itrdquo

Yet this interest in the oceans and Coleridgersquos Rhyme Of The Ancient Mariner wasnrsquot reflected in passion for painters like Turner ndash or at least not at that stage

53


ldquoI had no classical education in art as such but I think wersquore born with a calligraphy of vision that we recognise and I think itrsquos directly related to what Diane Arbus said ndash as if it was the most obvious thing in the world ndash when she was asked what her photography meant lsquoOh itrsquos a process of recognising what yoursquove never seenrsquo I think in your work for example yoursquore photographing things that are in your inner life as reflected by things that you see in your external life Itrsquos a process of psychic superimpositionrdquo

Therersquos something telling earlier in McFarlanersquos childhood years before he got a camera relating directly to photographic composition and the choice of viewpoint ldquoWhen I was quite small when I was eight or something and mum would send me down to the beachfront kiosk to buy some groceries I would be always looking at telegraph wires and moving this way and that way and watching the way they intersected I remember being very interested in the way things were and the way they could change just by my moving I think most people see pictures but most people donrsquot take that next step of moving Amateur photographers if you like And I was always interested in those relationshipsrdquo

Itrsquos a point that fits in with an idea Irsquod been reminded of a few days earlier while watching another photographer in the street you can tell something about the quality of the images someone will get from their body language and how they move

ldquoThatrsquos really what the received moment is all about Where you stand physically psychologically and intuitively dictates how you will receive the picture Cartier-Bresson for all the sonority of the decisive moment is a perfect example of the received

Gough Whitlam Sacked Martin Place Sydney 1975 by Robert McFarlane

ONE THOUSAND WORDS

54

moment as well All of those books all of that work are about where he stood

ldquoTherersquos only one bit of footage that Irsquove seen of him working Hersquos in the bottom of the frame and therersquos a group of people spreading off into the distance and at the top right therersquos a couple talking intimately He sees them and he skips almost dances off to the head of the group of people And just as they kiss guess whorsquos there taking the picture They donrsquot even see him and by the time theyrsquore finished the kiss hersquos gone Itrsquos a perfect example of how much like a dancer he wasrdquo

McFarlanersquos education continued on the job of course and movement ndash of both body and eye ndash was very much part of the curriculum

ldquoWhen I went to London in 1969 one of the very first things I photographed was a story on the last fight of Henry Cooper the heavyweight boxer I lobbed up at the gym and Don McCullin was there I watched him work and he was economical and like a solid middleweight walking up to someone and knowing when to evade Amazing He didnrsquot waste a moment I felt I was getting a masterclass McCullin was beautiful to watch but the other thing that was extraordinary about him was that despite the way he worked I could see he was bored shitless ndash it was really obvious in the picture I took of him He said to me lsquoI really want to be back in Vietnamrsquo He admitted to being a bit of a junky for the adrenalin rush that you get when yoursquore being shot at Irsquove only ever been shot at once when I was on a bus in Afghanistan and I definitely donrsquot remember it being a rushrdquo

Don McCullin at Hampstead Boxing Gym London 1970 by Robert McFarlane

55


Cooper also had something to teach McFarlane that day

ldquoThough I probably knew it intuitively before I was talking to him about how he faced his opponents He said lsquoI never look at their fists I always look at their eyes and their eyes will tell me what theyrsquore going to dorsquo And I think thatrsquos very true when yoursquore photographing peoplerdquo

My theory is that as well as the camera and some sort of visual education every photographer needs a moment when he or she suddenly realises that photography really matters With most of us the image is probably lost to memory but for McFarlane itrsquos right at the start of the catalog for the Received Moment ndash a photo of a senior teacher at his high school

ldquoThat was a landmark for me He was a humourless character and I was trying out a new camera up on the first floor at school looking down at the assembly Someone misbehaved in the first or second row and the deputy head called this boy forward As the boy came forward he said something and the boy looked up and he just went whack across the studentrsquos face I intuitively pressed the button and didnrsquot realise until afterwards that I had the picture But I was quite satisfied because Irsquod recorded a moment that was quite pungent in its way and it was part of my liferdquo

Nowadays the existence of an image like that would almost certainly result in serious disciplinary action for the teacher Were there any consequences

ldquoNo It was just something I kept for myself I had no idea of the power of publication in those days Pictures were just for merdquo

When he left school after a short and unsuccessful stint as an electric welder ndash ldquoI kept sticking electrodes to the metalrdquo ndash McFarlane went to work as an office boy for an advertising agency

ldquoWe had used a photographer called Colin Ballantyne who also directed plays in Adelaide He was quite eccentric with a curious set of teeth that were like paling fences and a shaved head a tight crew cut But he was a very fine photographer if rather waspish and I asked him one day if I could show him some pictures These were just observations taken on the beach and around Adelaide He shuffled through them really quickly and said lsquoHmm Hmm Interesting You might end up being another Cartier- Bressonrsquo That was the first time Irsquod heard his namerdquo

That was in 1958 but 1959 proved to be the more pivotal year in McFarlanersquos decision to become a photographer with two key events The Family Of Man Edward Steichenrsquos touring exhibition about the universality of human experience arrived in Adelaide (via a department store rather than the state gallery) and Robert Frankrsquos The Americans was finally published in English

ldquoThe Family Of Man was incredible and it changed the way I thought about photography I remember Eisenstaedtrsquos pictures and I loved Eugene Smithrsquos picture of The Walk To Paradise Garden which is iconic Later on I met Smith and he talked about the significance of that photograph Itrsquos the first picture he took after being blown uprdquo Smith had been following the American campaign against Japan towards the end of World War II and took two years and multiple operations to recover

ONE THOUSAND WORDS

56

McFarlanersquos copy of The Americans is well thumbed and close to hand even now and bears an inscription he made on the fly leaf ldquoAt lastrdquo

ldquoI donrsquot know how I first saw the pictures but The Americans spoke to me even more loudly than Family Of Man I instinctively knew it was a unified body of work about a subject that was mythological to me ndash we were fed a diet on television of American soap operas and American westerns Frankrsquos book was the counterpoint to all that and I immediately accepted the amplification of moments that would seem trivial like this picture here of a man staring into a jukeboxrdquo McFarlane holds up Frankrsquos image of an otherwise empty bar in Las Vegas taken in 1955

ldquoAnd I loved the fact that he celebrated these tiny tiny moments Anyway the book spoke to me and I felt I had to get it but nobody knew where it was Then someone told me the Melbourne library had a copy So I made my mind uprdquo ndash McFarlane laughs at the memory ndash ldquoto catch a train to Melbourne and steal it I had some false ID ndash I donrsquot remember how I got it ndash and I went I remember going to the woman at this big circular desk that radiated out into this vast library She went away to the stacks and came back with this look of dismay on her face and said to me lsquoIrsquom terribly sorry we canrsquot lend it to you Itrsquos been stolenrsquo And I thought at once therersquos a fellow soul and perhaps stealing it wasnrsquot the answer

ldquoSomething else that I liked about The Americans was the roughness of it the crudity With Assembly Line Detroit for example you can almost hear the noise of the production line Itrsquos a book of unutterable sadness in some ways and loneliness Frank is more Injured Redfern All Black Sydney

by Robert McFarlane

57


oblique and doesnrsquot quite have the elegance of Cartier-Bresson but therersquos just this absolutely direct way of seeing Itrsquos like rock and roll at its best the same poetic honesty

For a brief moment Irsquoll be the one to digress since the comparison with rock and roll is one that I certainly agree with and McFarlane amplifies it later ldquoPhoto- graphy is an exquisitely aesthetic medium and itrsquos as common as dirt so the metaphor of rock and roll is completely appropriate If I listen to John Fogarty sing Fortunate Son or I look at the photos of the Vietnam protests that were made at that time they have equal but different eloquencerdquo

Back to the issue in hand Robert Frank

ldquoThe other important thing about The Americans is the sequencing of the images That may sound trivial but it was laid out with intuition and itrsquos brilliantly donerdquo

Though Frank was an earlier influence on McFarlane it was probably Cartier-Bresson who had the greater impact

ldquoHe set an extraordinary standard of instant organisational brilliance And his observations whether he was in Beijing or Paris or Bali hellip he understood intuitively the societies that he documented He was in Leningrad when I was there for The Sunday Times My assignment was far more internal ndash it all took place inside a room ndash but his external images of the father and son walking in the foreground of a square behind which there was this four-storey hoarding of Lenin what an image Cartier-Bresson had the capacity to sum up societies in one picture ndash thatrsquos staggering So it was this sparkling agile

Injured Redfern All Black Sydney by Robert McFarlane

ONE THOUSAND WORDS

58

classic intelligence in many ways He was once asked what his photography meant and he said lsquoItrsquos a direct line between my unconscious and the external worldrsquo That bumfuzzled a few people

ldquoHe had such fluency of vision and such coherence of vision in hundreds thousands of published images Itrsquos an amazing achievement When you go through the photos from China for example therersquos a sense of involvement ndash which we havenrsquot spoken about yet Hersquos involved with head heart and eye really in every subject Thatrsquos something that Dennis Gooden and I ndash he was a photographer that I grew up with ndash used to talk about The only way to take photographs of a subject was to be deeply involved whether it be intellectually or emotionally or both with the subject You had to have an understanding or be seeking an understanding of what you were photographing I still feel like that You have to be thinking about the subject on as deep a level as you possibly can when you photograph it Nothing should be trivialised but on the other hand nothing is trivialrdquo

One of the more surprising realisations to come from some of the recent reviews of Cartier-Bressonrsquos work both for his show last year at the Centre Pompidou and for the reissue of The Decisive Moment is that a significant number of writers and critics look on his images as cool and detached Certainly therersquos a rare precision in his composition which many other documentary photographers have consciously rejected including Frank but therersquos also an empathy for his subjects that McFarlane clearly recognises and admires

ldquoIf you understand acceptance ndash with discipline because you have to compose and have your craft

together and all of those things ndash when you photograph people yoursquore in a privileged space Despite the temptation to direct which we all feel at different points therersquos an overwhelming spiritual compulsion to leave well enough alone and deal with whatrsquos thererdquo Which brings us back to the idea of the received moment How does McFarlane define the term

ldquoWell in a way it started as a commentary in reverse on the decisive moment Cartier-Bresson is in a world of his own ndash astonishing But I was thinking about the moment ndash and the moment is one of the prime grammars of photography just as juxtaposition is ndash and it suddenly occurred to me that the picture comes to you Light travels to you carrying the image into the camera and therefore you receive it And then Irsquove always loved that line from TS Eliot Hersquos got a number of references which could be to photography in his poems but the one I really love is lsquoAt the still point of the turning world Neither flesh nor fleshless Neither from nor towards at the still point there the dance isrsquo

ldquoAnd that to me is what photography is I donrsquot do much dancing these days but it is a dance and you have to respond to your partner your subject So the received moment is an aesthetic I feel comfortable with It was an idea that occurred to me when I was talking to Sarah Johnson the curator for Received Moments when she was looking for a title for the exhibition And I think we do receive the moments that we capture thatrsquos the direction the picture travels You stand outside and you feel the warmth on your skin and itrsquos eight minutes since that light left the sun Thatrsquos the ultimate travel but the image always travels to yourdquo

59


Therersquos another strand to McFarlanersquos thinking which Jenny Blain highlighted when she wrote about his exhibition for ABC Arts to the effect that the received moment is a gentler more contemplative idea than the decisive moment He expands

ldquoAll the metaphors about photography to that point were really aggressive and muscular and I wasnrsquot comfortable with them You shoot you take pictures you capture momentshellip theyrsquore all aggressive and thatrsquos crazy ndash you have to allow the picture to come to yourdquo

McFarlane was clearly pleased to be reminded of Blainrsquos comment pointing out that she was the first wife of David Moore ndash one of the biggest names in Australian photography and someone who allowed McFarlane to use his darkroom when he moved to Sydney ldquoJenny knows about photographyrdquo

Among the advantages of the received moment as an idea is the fact that the expression itself suggests the state of mind that the photographer should aim for

ldquoYou have to be as open as possible Sometimes you feel like you canrsquot miss when yoursquore in tune with something On other days everything seems to go against making good pictures and you have to somehow work yourself into a position where you can receive the pictures even if yoursquore not on top of your game You just have to be patient and respond to the changes And then suddenly a picture will come flying into your lens and make the day worthwhilerdquo

While the decisive moment can be viewed as an accolade applied after the fact to a telling image

Steven Berkoff During Actors Workshop Sydney 1975 by Robert McFarlane

ONE THOUSAND WORDS

60

the received moment draws our attention to the moment in which the photo is taken In that it becomes a more genre-based idea referring far more specifically to photojournalism and docu-mentary photography ldquoYou can manufacture a kind of decisive moment ndash people provoke pictures in the studiordquo

If therersquos a moment when McFarlane seems a little more tangential in his responses itrsquos when discussing these possible implications of the received moment In part I suspect thatrsquos because wersquore running into the area where McFarlanersquos photographic work and the inclinations associated with that run into his duties as a critic He continues

ldquoAs an example Gary Heery did a series of portraits of Cate Blanchett directed in the studio whereas the pictures Irsquove taken of her are unconscious observations of her in character in a play Theyrsquore a different genre if you like But I admire what he achieved and when I judged the Criticsrsquo Choice Award for Head On that year I had to give him the nod because it was simply the best picture So I did and I think Gary was reasonably happy about it ndash he tends to accept praise as his due shall we say Then I ran into his assistant who said lsquoOh yeah It was a really good day but we had a lot of trouble with the wind machinersquo And it took some of the magic out of the photographrdquo That said McFarlane certainly has no regrets about giving the award to Heery reiterating that it was the best image

ldquoThe picture is what wersquore talking about You always try to judge the work on its own merits There are certain areas that I donrsquot feel drawn to ndash some forms of conceptual photography unless theyrsquore done Cate Blanchett in The Blind Giant Is Dancing Belvoir Street

by Robert McFarlane

61


Cate Blanchett in The Blind Giant Is Dancing Belvoir Street by Robert McFarlane

brilliantly ndash strike me as being very mannered And video installation can be absolutely tedious or it can be very good indeed The job of a critic is to be immune to genre reallyrdquo

Portraiture of course is another area where McFarlanersquos expression offers a different and useful perspective Cartier-Bressonrsquos famous image Behind Gare Saint-Lazare (1932) ndash perhaps his most famous image ndash in which a man is caught in mid-jump just before he lands in a pool of water is decisive in a way that his portraits of Matisse and many others arenrsquot

Perhaps the two ideas collide while also illustrating the differences in approach between Cartier-Bresson and McFarlane in two images made in doorways

Cartier-Bresson speaking of his photo of Iregravene and Freacutedeacuteric Joliot-Curie (the French physicists) reportedly said ldquoI rang the bell the door opened I shot I then said good morning It wasnrsquot very politerdquo

McFarlane has an image of John Bell the theatre director taken under similar circumstances ldquoI went round to see John one day because he wanted some publicity pictures He came out to the front door and I instinctively said lsquoOh John just a momenthelliprsquo And I think this was the second picture that I took When he saw it he decided to use it for the cover of his autobiographyrdquo

Still talking about his experiences with Bell McFarlane comes to another point that relates to something Irsquove noticed in my own work ldquoHe was rehearsing a duel and something interesting happened He suddenly seemed to become bigger in the space he was performing in And thatrsquos something that

ONE THOUSAND WORDS

62

the great actors do they seem to manipulate the space they inhabit Bell is very athletic and therersquos poetry in his movements and that does something to the way we perceive spacerdquo

In my experience therersquos another point of transformation when you work backstage in the theatre therersquos a point in the preparations when the actor will make one particular change and suddenly become the character McFarlane has noticed this too and talks about seeing it with the British actor Steven Berkoff (himself a fine photographer with a book of street photography from Londonrsquos East End to his name) I imagine that itrsquos a very clear line with Steven

ldquoOh Incredible Hersquod be meticulously making himself up and putting on his costume but the moment he stepped on stage Berkoff retreated and the character came forward It was a moment of such extraordinary power and the moment he stepped on stage the sorcery beganrdquo

Even in taking a photo of Berkoff in his office in London Irsquod noticed a switch a moment when he suddenly became ready for the camera He wasnrsquot going into a character in a play but he was projecting a desired image of himself

Itrsquos clearly something McFarlane has grappled withldquo Particularly with performers you have to expect that coming The real picture is behind thatrdquo

Of the four or five shots that I took of Berkoff ndash our meeting allowed me to deliver McFarlanersquos exhibition catalog to his old friend ndash the one I prefer is the one where I think I can see the mask starting to slip But the fact that hersquos at home essentially and felt the need to make that switch ndash and wasnrsquot happy about

Bob Hawke at Newcastle Civic Centre 1976 by Robert McFarlane

63


the idea of my taking photos while we talked ndash to my mind that revealed a vulnerability you wouldnrsquot necessarily expect from someone of Berkoffrsquos stature and doesnrsquot really fit with his public persona

ldquoAnd thatrsquos the thing You look at photos of famous figures by incredibly skilful photographers and very few of them get past their celebrity Annie Leibovitz gets past sometimes but sometimes she replaces it with her own vision of their celebrity But Irsquove got a lot of respect for her because I think she knows the differencerdquo

There are any number of photographers who see it as their duty to collaborate in producing that sort of PR image

ldquoYeah thatrsquos the easy wayrdquo Therersquos a barely per- ceptible shake of McFarlanersquos head a hint of sadness in his voice and a pause

With that we decide to take a break In the rhyming slang that Robert so enjoys he needs a snakersquos hiss and we both need more caffeine




qcritical essays amp reviews on photography

All content copyright copy 2015 Ballarat International Foto Biennale or the individual contrib-utors and may not be reproduced without the express written permission of the copyright owners save for fair dealing for the purpose of study criticism review and reporting of news All other rights are reserved

DESIGN penelope anne

SISTER PUBLICATIONS



MEMBER FESTIVAL



Assn No A0045714LABN 70496228247








CONTENTS

ONE THOUSAND WORDS

6





INTRODUCTION

7




ONE THOUSAND WORDS

8

The primary problem











9




The meta problem










ONE THOUSAND WORDS

10






References






website atkinscomau

ONE THOUSAND WORDS

12






Rosalie Wodecki






ONE THOUSAND WORDS

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15






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ONE THOUSAND WORDS

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40






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Book Details


ONE THOUSAND WORDS

44





ME AND HC-B


45


ME AND HC-B




ONE THOUSAND WORDS

46








Mira Soulio

47



Mira Soulio

ONE THOUSAND WORDS

48









ONE THOUSAND WORDS

50







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ONE THOUSAND WORDS

52










53







ONE THOUSAND WORDS

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55












ONE THOUSAND WORDS

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by Robert McFarlane

57









ONE THOUSAND WORDS

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ONE THOUSAND WORDS

60





by Robert McFarlane

61









ONE THOUSAND WORDS

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63










SISTER PUBLICATIONS



MEMBER FESTIVAL



Assn No A0045714LABN 70496228247








CONTENTS

ONE THOUSAND WORDS

6





INTRODUCTION

7




ONE THOUSAND WORDS

8

The primary problem











9




The meta problem










ONE THOUSAND WORDS

10






References






website atkinscomau

ONE THOUSAND WORDS

12






Rosalie Wodecki






ONE THOUSAND WORDS

14










15






ONE THOUSAND WORDS

16


17





ONE THOUSAND WORDS

18





ONE THOUSAND WORDS

20






intcent



21


ONE THOUSAND WORDS

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25



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ONE THOUSAND WORDS

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41







ONE THOUSAND WORDS

42






Book Details


ONE THOUSAND WORDS

44





ME AND HC-B


45


ME AND HC-B




ONE THOUSAND WORDS

46








Mira Soulio

47



Mira Soulio

ONE THOUSAND WORDS

48









ONE THOUSAND WORDS

50







51



ONE THOUSAND WORDS

52










53







ONE THOUSAND WORDS

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55












ONE THOUSAND WORDS

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by Robert McFarlane

57









ONE THOUSAND WORDS

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59









ONE THOUSAND WORDS

60





by Robert McFarlane

61









ONE THOUSAND WORDS

62








63

















CONTENTS

ONE THOUSAND WORDS

6





INTRODUCTION

7




ONE THOUSAND WORDS

8

The primary problem











9




The meta problem










ONE THOUSAND WORDS

10






References






website atkinscomau

ONE THOUSAND WORDS

12






Rosalie Wodecki






ONE THOUSAND WORDS

14










15






ONE THOUSAND WORDS

16


17





ONE THOUSAND WORDS

18





ONE THOUSAND WORDS

20






intcent



21


ONE THOUSAND WORDS

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25



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ONE THOUSAND WORDS

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ONE THOUSAND WORDS

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ONE THOUSAND WORDS

40






41







ONE THOUSAND WORDS

42






Book Details


ONE THOUSAND WORDS

44





ME AND HC-B


45


ME AND HC-B




ONE THOUSAND WORDS

46








Mira Soulio

47



Mira Soulio

ONE THOUSAND WORDS

48









ONE THOUSAND WORDS

50







51



ONE THOUSAND WORDS

52










53







ONE THOUSAND WORDS

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55












ONE THOUSAND WORDS

56





by Robert McFarlane

57









ONE THOUSAND WORDS

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59









ONE THOUSAND WORDS

60





by Robert McFarlane

61









ONE THOUSAND WORDS

62








63










ONE THOUSAND WORDS

6





INTRODUCTION

7




ONE THOUSAND WORDS

8

The primary problem











9




The meta problem










ONE THOUSAND WORDS

10






References






website atkinscomau

ONE THOUSAND WORDS

12






Rosalie Wodecki






ONE THOUSAND WORDS

14










15






ONE THOUSAND WORDS

16


17





ONE THOUSAND WORDS

18





ONE THOUSAND WORDS

20






intcent



21


ONE THOUSAND WORDS

22







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ONE THOUSAND WORDS

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25



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ONE THOUSAND WORDS

26




27





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ONE THOUSAND WORDS

28







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ONE THOUSAND WORDS

30






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32




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33






ONE THOUSAND WORDS

34


intcent




35





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ONE THOUSAND WORDS

36


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37


intcent






ONE THOUSAND WORDS

38






39






ONE THOUSAND WORDS

40






41







ONE THOUSAND WORDS

42






Book Details


ONE THOUSAND WORDS

44





ME AND HC-B


45


ME AND HC-B




ONE THOUSAND WORDS

46








Mira Soulio

47



Mira Soulio

ONE THOUSAND WORDS

48









ONE THOUSAND WORDS

50







51



ONE THOUSAND WORDS

52










53







ONE THOUSAND WORDS

54






55












ONE THOUSAND WORDS

56





by Robert McFarlane

57









ONE THOUSAND WORDS

58








59









ONE THOUSAND WORDS

60





by Robert McFarlane

61









ONE THOUSAND WORDS

62








63










7




ONE THOUSAND WORDS

8

The primary problem











9




The meta problem










ONE THOUSAND WORDS

10






References






website atkinscomau

ONE THOUSAND WORDS

12






Rosalie Wodecki






ONE THOUSAND WORDS

14










15






ONE THOUSAND WORDS

16


17





ONE THOUSAND WORDS

18





ONE THOUSAND WORDS

20






intcent



21


ONE THOUSAND WORDS

22







23






ONE THOUSAND WORDS

24





25



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ONE THOUSAND WORDS

26




27





intcent




ONE THOUSAND WORDS

28







29








ONE THOUSAND WORDS

30






31








ONE THOUSAND WORDS

32




intcent



33






ONE THOUSAND WORDS

34


intcent




35





intcent



ONE THOUSAND WORDS

36


intcent






37


intcent






ONE THOUSAND WORDS

38






39






ONE THOUSAND WORDS

40






41







ONE THOUSAND WORDS

42






Book Details


ONE THOUSAND WORDS

44





ME AND HC-B


45


ME AND HC-B




ONE THOUSAND WORDS

46








Mira Soulio

47



Mira Soulio

ONE THOUSAND WORDS

48









ONE THOUSAND WORDS

50







51



ONE THOUSAND WORDS

52










53







ONE THOUSAND WORDS

54






55












ONE THOUSAND WORDS

56





by Robert McFarlane

57









ONE THOUSAND WORDS

58








59









ONE THOUSAND WORDS

60





by Robert McFarlane

61









ONE THOUSAND WORDS

62








63










ONE THOUSAND WORDS

8

The primary problem











9




The meta problem










ONE THOUSAND WORDS

10






References






website atkinscomau

ONE THOUSAND WORDS

12






Rosalie Wodecki






ONE THOUSAND WORDS

14










15






ONE THOUSAND WORDS

16


17





ONE THOUSAND WORDS

18





ONE THOUSAND WORDS

20






intcent



21


ONE THOUSAND WORDS

22







23






ONE THOUSAND WORDS

24





25



intcent




ONE THOUSAND WORDS

26




27





intcent




ONE THOUSAND WORDS

28







29








ONE THOUSAND WORDS

30






31








ONE THOUSAND WORDS

32




intcent



33






ONE THOUSAND WORDS

34


intcent




35





intcent



ONE THOUSAND WORDS

36


intcent






37


intcent






ONE THOUSAND WORDS

38






39






ONE THOUSAND WORDS

40






41







ONE THOUSAND WORDS

42






Book Details


ONE THOUSAND WORDS

44





ME AND HC-B


45


ME AND HC-B




ONE THOUSAND WORDS

46








Mira Soulio

47



Mira Soulio

ONE THOUSAND WORDS

48









ONE THOUSAND WORDS

50







51



ONE THOUSAND WORDS

52










53







ONE THOUSAND WORDS

54






55












ONE THOUSAND WORDS

56





by Robert McFarlane

57









ONE THOUSAND WORDS

58








59









ONE THOUSAND WORDS

60





by Robert McFarlane

61









ONE THOUSAND WORDS

62








63










9




The meta problem










ONE THOUSAND WORDS

10






References






website atkinscomau

ONE THOUSAND WORDS

12






Rosalie Wodecki






ONE THOUSAND WORDS

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Book Details


ONE THOUSAND WORDS

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ME AND HC-B


45


ME AND HC-B




ONE THOUSAND WORDS

46








Mira Soulio

47



Mira Soulio

ONE THOUSAND WORDS

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ONE THOUSAND WORDS

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References






website atkinscomau

ONE THOUSAND WORDS

12






Rosalie Wodecki






ONE THOUSAND WORDS

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Book Details


ONE THOUSAND WORDS

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ME AND HC-B


45


ME AND HC-B




ONE THOUSAND WORDS

46








Mira Soulio

47



Mira Soulio

ONE THOUSAND WORDS

48









ONE THOUSAND WORDS

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Rosalie Wodecki






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Book Details


ONE THOUSAND WORDS

44





ME AND HC-B


45


ME AND HC-B




ONE THOUSAND WORDS

46








Mira Soulio

47



Mira Soulio

ONE THOUSAND WORDS

48









ONE THOUSAND WORDS

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Book Details


ONE THOUSAND WORDS

44





ME AND HC-B


45


ME AND HC-B




ONE THOUSAND WORDS

46








Mira Soulio

47



Mira Soulio

ONE THOUSAND WORDS

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Book Details


ONE THOUSAND WORDS

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ME AND HC-B


45


ME AND HC-B




ONE THOUSAND WORDS

46








Mira Soulio

47



Mira Soulio

ONE THOUSAND WORDS

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Book Details


ONE THOUSAND WORDS

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ME AND HC-B


45


ME AND HC-B




ONE THOUSAND WORDS

46








Mira Soulio

47



Mira Soulio

ONE THOUSAND WORDS

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ONE THOUSAND WORDS

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ME AND HC-B


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ME AND HC-B




ONE THOUSAND WORDS

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Mira Soulio

47



Mira Soulio

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ONE THOUSAND WORDS

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ME AND HC-B


45


ME AND HC-B




ONE THOUSAND WORDS

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Mira Soulio

47



Mira Soulio

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ONE THOUSAND WORDS

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ME AND HC-B


45


ME AND HC-B




ONE THOUSAND WORDS

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Mira Soulio

47



Mira Soulio

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ONE THOUSAND WORDS

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ME AND HC-B


45


ME AND HC-B




ONE THOUSAND WORDS

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Mira Soulio

47



Mira Soulio

ONE THOUSAND WORDS

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Book Details


ONE THOUSAND WORDS

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ME AND HC-B


45


ME AND HC-B




ONE THOUSAND WORDS

46








Mira Soulio

47



Mira Soulio

ONE THOUSAND WORDS

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ONE THOUSAND WORDS

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ME AND HC-B


45


ME AND HC-B




ONE THOUSAND WORDS

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Mira Soulio

47



Mira Soulio

ONE THOUSAND WORDS

48









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Book Details


ONE THOUSAND WORDS

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ME AND HC-B


45


ME AND HC-B




ONE THOUSAND WORDS

46








Mira Soulio

47



Mira Soulio

ONE THOUSAND WORDS

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Book Details


ONE THOUSAND WORDS

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ME AND HC-B


45


ME AND HC-B




ONE THOUSAND WORDS

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Mira Soulio

47



Mira Soulio

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Book Details


ONE THOUSAND WORDS

44





ME AND HC-B


45


ME AND HC-B




ONE THOUSAND WORDS

46








Mira Soulio

47



Mira Soulio

ONE THOUSAND WORDS

48









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Book Details


ONE THOUSAND WORDS

44





ME AND HC-B


45


ME AND HC-B




ONE THOUSAND WORDS

46








Mira Soulio

47



Mira Soulio

ONE THOUSAND WORDS

48









ONE THOUSAND WORDS

50







51



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52










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Book Details


ONE THOUSAND WORDS

44





ME AND HC-B


45


ME AND HC-B




ONE THOUSAND WORDS

46








Mira Soulio

47



Mira Soulio

ONE THOUSAND WORDS

48









ONE THOUSAND WORDS

50







51



ONE THOUSAND WORDS

52










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Book Details


ONE THOUSAND WORDS

44





ME AND HC-B


45


ME AND HC-B




ONE THOUSAND WORDS

46








Mira Soulio

47



Mira Soulio

ONE THOUSAND WORDS

48









ONE THOUSAND WORDS

50







51



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52










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ONE THOUSAND WORDS

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Book Details


ONE THOUSAND WORDS

44





ME AND HC-B


45


ME AND HC-B




ONE THOUSAND WORDS

46








Mira Soulio

47



Mira Soulio

ONE THOUSAND WORDS

48









ONE THOUSAND WORDS

50







51



ONE THOUSAND WORDS

52










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ONE THOUSAND WORDS

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Book Details


ONE THOUSAND WORDS

44





ME AND HC-B


45


ME AND HC-B




ONE THOUSAND WORDS

46








Mira Soulio

47



Mira Soulio

ONE THOUSAND WORDS

48









ONE THOUSAND WORDS

50







51



ONE THOUSAND WORDS

52










53







ONE THOUSAND WORDS

54






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ONE THOUSAND WORDS

56





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40






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ONE THOUSAND WORDS

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Book Details


ONE THOUSAND WORDS

44





ME AND HC-B


45


ME AND HC-B




ONE THOUSAND WORDS

46








Mira Soulio

47



Mira Soulio

ONE THOUSAND WORDS

48









ONE THOUSAND WORDS

50







51



ONE THOUSAND WORDS

52










53







ONE THOUSAND WORDS

54






55












ONE THOUSAND WORDS

56





by Robert McFarlane

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58








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intcent




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40






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Book Details


ONE THOUSAND WORDS

44





ME AND HC-B


45


ME AND HC-B




ONE THOUSAND WORDS

46








Mira Soulio

47



Mira Soulio

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ME AND HC-B


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ME AND HC-B




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Mira Soulio

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Mira Soulio

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ME AND HC-B


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ME AND HC-B




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Mira Soulio

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Mira Soulio

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ME AND HC-B


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ME AND HC-B




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Mira Soulio

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Mira Soulio

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ME AND HC-B


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ME AND HC-B




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Mira Soulio

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Mira Soulio

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ME AND HC-B


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ME AND HC-B




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Mira Soulio

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Mira Soulio

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ME AND HC-B


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ME AND HC-B




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Mira Soulio

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Mira Soulio

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ME AND HC-B


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ME AND HC-B




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Mira Soulio

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Mira Soulio

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ME AND HC-B


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ME AND HC-B




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Mira Soulio

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Mira Soulio

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ME AND HC-B


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ME AND HC-B




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Mira Soulio

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Mira Soulio

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ONE THOUSAND WORDS

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ME AND HC-B


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ME AND HC-B




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Mira Soulio

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Mira Soulio

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ME AND HC-B




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Mira Soulio

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Mira Soulio

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Mira Soulio

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Mira Soulio

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Documents

One Thousand Words [about photography] 04