Posts Tagged ‘Foto’

FOTO | Fotografen Philippe Halsman fick 1955 Richard Nixon att hoppa framför kameran. Vicepresidenten var bara en bland många som lockats till detta.

Richard Nixon av Philippe Halsman

Till sist publicerades ”hoppbilderna” 1956 i boken Philippe Halsman’s Jump Book.

Mary Panzer, curator vid Smithsonian Institution, skrev så här om bilderna:

The ”jump” pictures had surprising charm, and over the next six years, Halsman asked many clients to jump for him. Van Cliburn, Edward R. Murrow, and Herbert Hoover declined Halsman’s invitation, but most people realized they had nothing to lose. (Some gained considerably, like the suddenly buoyant and likable Vice President Richard Nixon, who jumped for Halsman in the White House.) Halsman claimed the jumps revealed character that was otherwise hidden. ”When you ask a person to jump, his attention is mostly directed toward the act of jumping and the mask falls so that the real person appears.”

Halsman also pursued this project to discover something about himself. ”I assure you that often, before approaching the person, my heart would beat, and I would have to fight down all my inhibitions in order to address this request to my subject. At every time when the subject agreed to jump, it was for me like a kind of victory.” How did Halsman persuade so many to abandon their composure for his camera? Somehow, he managed to convince each one that the risk was all his own.

Läs mer: ”When He Said ‘Jump…’”av Owen Edwards. Se även Halsmans hemsida.

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HISTORIA | Här är bildbeviset på att Abraham Lincoln var en ”cool dude”. Fotot på hipstern Lincoln togs när han var 48. Knappast purung längre.

En reporter lär ha kallat stilen ”Wild Republican hair”. Allt enligt tidskriften mental_floss i deras ”24 Vintage Photographs of Abe Lincoln Being Awesome”.

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FOTO | Fotografer som skall dokumentera en sittande president hamnar automatiskt i en gråzon mellan att påverka och påverkas.

Lägligt så här nära inför presidentvalet i USA passar tidskriften American Photo på att lyfta fram fotografi och politik som tema.

Michael Kaplan har talat med fem fotografer – Platon, Harry Benson, Bil Eppridge, David Hume Kennerly och Pete Souza – som har haft möjlighet att följa olika presidenter på nära håll.

Kaplan skriver:

When it comes to making photos, presidents and photographers have very different agendas. Presidents (as do all politicians) seek to buff their carefully constructed images of themselves. Photographers, meanwhile, push in the opposite direction, doing their best to get at whatever scraps of truth might remain in the luminal space where the personal meets the political.

Men det är inte bara politier som försöker påverka journalister och fotografer. Även det omvända gäller. Ett exempel på detta är omslaget ovan.

Här har man medvetet manipulerat en bild av John F. Kennedy för att visa hur lätt det är framställa en person i positiv eller negativ dager. Propaganda är ofta inte mer komplicerat än så.

Bild: Tidskriftsomslaget ovan är American Photo september-oktober 2012.

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IMAGE | Vår förmåga (och önskan) att låta oss luras av bilder tycks vara oändlig. Det är inte bara en tom kliché att en bild kan säger mer än tusen ord.

Oavsett alla avslöjanden om president John F. Kennedys föga imponerande politiska liv – för att inte tala om hans privatliv – tycks vi ändå alltid välja att bli mer imponerade av bilden av honom än av vad vi verkligen vet.

Caitlin Flanagan, The Atlantic, har reflekterat över hur dessa bilder än idag har en förmåga att forma hur vi ser på Kennedy och hans familj.

You know the pictures. They’re the ones we’re still looking at, still marveling over, the ones that fuse some powerful ideas together and that make us fall in love all over again with a family we’ve never met and specifically with the man at the center of that family, who was apparently willing—eager—to contain the most vital and alluring of his protean energies within it. These photographs have had an outsized effect on our assessment of JFK’s presidency, and our collective feelings about them have served as his magic fishbone, getting him out of one scrape or another as the years pass by and the revelations and reassessments pile up.


Those pictures make me realize anew what a patsy I’ve been. How could they be anything more than a shrewd campaign, one that plays on the very sentiment—an essentially bourgeois regard for what is nowadays called “the sanctity of marriage”—for which JFK himself had such obvious contempt?


As for John Kennedy—what did he do for us? He started the Peace Corps and the Vietnam War. He promised to put a man on the moon, and he presided over an administration whose love affair with assassination was held in check only by its blessed incompetence at pulling off more of them. […] He fought for a tax break the particulars of which look like the product of a Rush Limbaugh fever dream, he almost got us all killed during his “second Cuba” […] and he brought organized crime into contact with the highest echelons of American power. More than anyone else in American history, perhaps, he had a clear vision of what his country could do for him.

But most of all, he made us feel good about ourselves; he inspired us. Toward what? Mostly toward him. […] The typical progressive woman thinks she is drawn to him because of his groovy, feel-good work on behalf of civil rights, but that’s an assertion that doesn’t bear 15 minutes’ exploration. John Kennedy voted against Eisenhower’s 1957 Civil Rights Act; he made lofty campaign promises that assured him the black vote but then sat on his hands for all of 1961; his nickname for James Baldwin was “Martin Luther Queen.” The reason so many women love him really has nothing to do with his actual accomplishments and everything to do with his being the kind of man whose every inclination runs counter to their best interests.


JFK was a man whose sexual life remained a central fact of his existence, who did not allow it to be diminished by anything—not his political ambitions, not issues of national security, not his Catholicism, not loyalty to his friends and his male relatives, not physical limitation or pain, not the risk of infecting any of his partners with the venereal disease that regularly plagued him, not fear of impregnating someone, not the potential for personal embarrassment, and certainly, certainly, not his marriage.


He was a winner, and we like winners. He’ll get out of every scrape history can serve up. All the aging hookers and cast-aside girlfriends with book contracts better take notice: We don’t care about you. JFK is more important to us than you can ever be, so you might as well keep quiet. The cause endures, sweetheart. The hope still lives. And the dream will never die.

Bild: Ett foto taget av Cecil Stoughton som var Vita husets första officiella fotograf. Under bilden har Kennedy skrivit: “For Captain Stoughton — who captured beautifully a happy moment at the White House / John Kennedy.”

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IMAGE | Cornell Capa är en av de stora fotojournalisterna. Hans bilder av John F. Kennedys valkampanj 1960 tillhör klassikerna.

Valkampanjer planeras in i minsta detalj. De följer ett mönster som sedan upprepas från stad till stad under hela valkampanjen.

Bilder av presidentkandidaterna tenderar därför också att bli förutsägbart tråkiga.

Kandidaten håller tal. Han skakar väljarnas händer. Han skriver autografer. Och klappar barn på huvudet och tar emot blommor. Och så vidare i all oändlighet.

Det krävs både känsla och skicklighet för att åstadkomma något originellt kring dessa inslag som många gånger bara utmärks av ständiga upprepningar.

JFK for President: Photographs by Cornell Capa (2004) innehåller mer än hundra bilder, en del publicerades här för första gången, inklusive sällsynta färgbilder.

Det är här Capas storhet kommer in. Hans bilder har inte bara blivit en del av mytbildningen kring JFK, de har också blivit sinnebilden av en amerikansk valkampanj.

Från Willis E. Hartshorns förord:

Cornell started photographing Kennedy for Life magazine during the Wisconsin primary in 1960. After the election, he photographed the inauguration, and stayed on in the White House to photograph the first 100 days of the Kennedy administration. Although Capa was a working photojournalist covering breaking news, these pictures contributed to the mythology that built up around JFK. 1960 was also the very moment television surfaced as an important political tool. Kennedy was the first president to effectively use the new medium to create his image, both through debates as candidate and with the first televised press conferences as president. But it was also the heyday of Life, which seemed to sit on every coffee table in America, and long after the television images faded the power of the still photograph reinforced the charisma of the man, the charm and appeal of his wife and family, and the youthful energy of his administration.

Boken innehåller också en kort essay av historikern Eric F. Goldman – ursprungligen publicerad 1961 – om Kennedys första hundra dagar. Bättre sammanfattningar kan man knappast önska sig.

Capa började som anhängare till Adlai Stevenson under presidentvalskampanjerna 1952 och 1956. Kampanjer som han också bevakade för tidskriften Life.

Efter Kennedys valseger började Capa arbeta på en bok om Kennedy-administrationens första 100 dagar.

Boken Let Us Begin: The First 100 Days of the Kennedy Administration, som publicerades på hundrationde dagen, anses vara första exemplet på ”instant history”.

I boken medverkade en rad fotografer från bildbyrån Magnum, bl.a. storheter som Henri Cartier-Bresson och Elliot Erwitt.

Cornell Capa föddes i Ungern 1918 och var fotograferna på Life från åren 1946 till maj 1954, året när hans bror Robert Capa omkom i Indokina.

Därefter blev Capa en av fotograferna på Magnum Photos som hans bror hade varit med och startat upp.

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MICHELE BACHMANN är Tea Party rörelsens främste företrädare bland de republikanska presidentkandidaterna.

Lois Romano på Newsweek skriver:

She has just finished electrifying a crowd in Ft. Dodge, Iowa, with a folksy assault on a bloated federal government that she and her Tea Party compatriots routinely vow to dismantle. “Obamacare” will be repealed in a Bachmann administration […]

The willingness of its most committed members to risk national default for the sake of achieving its political goals has no doubt contributed to the dramatic rise in the number of Americans who view the movement unfavorably. In a New York Times/CBS News poll published on Aug. 5, 40 percent of respondents described their opinion of the Tea Party as “not favorable”—up from 18 percent in April 2010.


Asked if her positions are extreme, Bachmann replies that the Tea Party’s ideals are simply the most rational solutions to a broken and profligate government, and that the only option is to stand tough. “I do not twist in the wind,” she says proudly.


If there’s one threat on the horizon, it’s Texas Gov. Rick Perry’s expected entrance into the race. He, too, offers evangelical fervor coupled with a stand against big government. But he has something she lacks: an executive record as the longest-serving governor in a state that is thriving in hard times. It doesn’t seem to faze her.

Övrigt: Ovanstående tidskriftsomslag (15 augusti 2011) är den amerikanska utgåvan av tidskriften. Fotografen är Chris Buck. Fler bilder med anledning av bl.a. fotograferingen av omslaget finns på hemsidan för Newsweek/The Daily Beast.

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VAL: När Ronald Reagan bestämde sig för att ställa upp i guvernörsvalet i Kalifornien 1966 sågs han av många som en B-skådespelare.

Life skickade sin fotograf Bill Ray för att följa honom på hans första politiska kampanj. Några av Rays foton kan man nu se i ett bildspel. Många av bilderna är ovanliga och har inte tidigare visats.

Den som tror att konsulter i amerikansk politik är något nytt kan begrunda följande:

[Guvernör Edmund ”Pat”] Brown’s experts in the dark arts of electioneering are the nonpartisan Baus & Ross Company with a record of 80 winning campaigns and 9 losses. Reagan is in the hands of Spencer-Roberts & Associates (36 wins, 7 losses), specialists in tactics for Republicans only. When they managed Nelson Rockefeller’s presidential primary, Spencer-Roberts claimed his opponent Barry Goldwater was a captive of the Far Right and cited his association with – of all people – Ronald Reagan. Baus & Ross get votes for Brown by pointing to that irretrievable gaff. But beyond that, they are for letting bygones be bygones. In ’64, Brown’s experts hired out to Goldwater and said only the kindest things about Reagan. Everything is just that simple in California.

Läs mer: Citatet är från ”The Big Contest Is in California: Old Pro Up Against the Old Star”, Look, 1 november 1966.

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BLUFF: En statlig egyptisk tidning har manipulerat bilder för att president Hosni Mubarak skall framstå som mer handlingskraftig.

Bloggaren Wael Khalil gjorde avslöjandet att tidningen Al-Ahram hade ”photoshopat” bilderna från fredssamtalen i Washington.

Anledningen kan vara att man inte vill spä på ryktena om presidentens sviktande hälsa. Men det kan lika bra bero på att Mubarak säkert vill framstå som en viktig spelare i Mellanöstern.

Att något sådant avslöjas från en diktatur i Mellanöstern är i vilket fall som helst knappast att förvånas över. 

Med tanke på all den desinformation och antisemitism som ständigt spottas ut från statskontrollerad media gör att man knappast behöver förvånas över att man även använder sig av Photoshop för att manipulera.

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TIDSKRIFT: Omslaget nedan är från juli 2008 av tidskriften Rolling Stone Magazine. Det vann 2009 priset  ”Magazine Cover of the Year”. Tävlingen annordnas av American Society of Magazine Editors.

”The smile says it all. Photographer Peter Yang caught up with Barack Obama in Raleigh, North Carolina, just a few days after he had finally nailed down the Democratic Party’s presidential nomination. Obama was exhausted, excited, relaxed, gracious, open–yet still somehow elusive. Hundreds of photographers have shot Obama over the past couple of years, but no one has quite caught his quiet charisma as Peter Yang did last June.”

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DESIGN:Magforum kan man lära sig allt om tidskrifter och hur man använder bild och text för att uppnå maximal effekt på omslaget.

Lika som bär. Vogue från april 1940 och senaste Vanity Fair (engelska editionen) juli 2010.

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