Reflection on Photographer Yousuf Karsh

Yousuf Karsh lived from December 23, 1908 until July 13th, 2002 and was originally from modern day Turkey. However, this was the time of the Armenian Genocide and his family fled to Syria to escape. During his youth Karsh witnessed many horrors, including the starvation of his sister. His parents sent him to live with his uncle in Quebec, who was a photographer. Noticing a talent in Yousuf, he arranged for an apprenticeship with renown John Garo in Boston. This opportunity, and his past experiences in my opinion, were responsible for his great success, he was motivated by human nature and had a very real connections with his subjects.

The defining moment I believe for Karsh was his move to Ottawa, where after being noticed by Prime Minister MacKenzie King, he began photography dignitaries and celebrities. The most renown, and actually most reproduced portrait in history, of Winston Churchill put him in the history books. He managed to capture Winston Churchill, without his cigar, in a mere two minutes he was allotted by the surely man after his speech. This image portrayed Churchill and his leadership in WW11, to be infallible and strong, encompassing the man's character and soul in a single shot. In addition to the famous portrait, Karsh achieved much acclaim, including being made an Officer of the Order of Canada in 1967, an Companion in 1990, and ranking 51st of the top 100 " most notable people of the century" in 2000 by the International Who's Who.

Yousuf Karsh excelled at lighting and was an integral part of his productions. He would often light the subjects face and hands separately to add emphasis. He shot in black and white, using for the majority of his career a "8x10 bellows Calumet(1997.0319). Seeking to capture the essences of his subjects, he focused on the brief glimpses of the unveiled, exposed true self of his subject. He was known for his immortalizing abilities and was much sought after by famous people. Among the many he photographed were Muhammed Ali, Fidel Castro, Albert Einstein, Andy Warhol and Pope John Paul II, to name a few. His complete collection is kept at the Library Archives Canada, but his work is appreciated around the world from the National Portrait Gallery in Australia to New York's Museum of Modern Art. His equipment was donated to the Canada Science and Technology Museum in Ottawa.

A photographer by the name of Paul Couvrette was a friend to Yousuf Karsh and his brother, and it was Karsh who saw the potential in him. Which is why he gave many of his clients in Ottawa to him. Couvrette like Karsh understood the importance of connecting with their subjects on a personal level. He carried this through every aspect of his photography, even the staff at his studio were extensively interviewed to ensure they would maintain the atmosphere and professionalism that brought patrons back over 20 years. That loyalty came from his care for his subjects, and his attention to their level of comfort, so that he would have opportunity to capture a glimpse behind the mask we all hide behind. Like the image below of a man being photographed for a business headshot. Couvrette was able to capture his "essence" like Karsh, no matter what the intended purpose of the image. Even at first glance, the viewer can easily identify with the subject. By his expression, his intelligence, decisive demeanour and hint of sense of humour are obvious. I believe by being mentored by Karsh, he gained the insight and skills to accentuate the subjects best qualities.
http://en.wikipedia.org/wiki/Richard_Avedon). Like Karsh, Avedon tried to incite reactions from his subjects, in the case of "The Roaring Lion" Karsh's unintentional effect of removing Winston Churchill's cigar, Avedon would purposely ask unsettling questions to evoke emotion.

Paul Couvrette

Like Karsh, Tracy Martin focuses on capturing her subjects in a positive light, without compromising the reality of the character. She states in her biography on her website that one of her greatest influences is Yousuf Karsh. I believe this is because of their similar approach and style. She sees beyond the subject in front of her, but rather focuses on their personality and workings of their mind. By drawing this out, she is able to tell their story in a single image. The importance of setting the proper lighting is another similarity, like in the image below of a women standing in rapture. The women is opening herself up to the light, exulting in it's freedom and strength, expertly Martin has connected the light to the subject and the emotion of the subject to the viewer.

Tracy Martin

Richard Avedon was chief photographer of Harper's Bizarre, and later Vogue, and was a defining figure in fashion and portraiture in America. Unlike the fashion photographers of that time, and very much like Karsh, he felt the need to connect with the models. Instead of photographing "mannequins" he brought the models to life, inspiring them to not only wear the product, but really showcase it through emotion and motion. "Avedon was always interested in how portraiture captures the personality and soul of the subject"(tp://en.wikipedia.org/wiki/Richard_Avedon). Like Karsh, Avedon tried to incite reactions from his subjects, in the case of "The Roaring Lion" Karsh's unintentional effect of removing Winston Churchill's cigar, Avedon would purposely ask unsettling questions to evoke emotion.

However, later Avedon was drawn to more "common" subjects like miners and factory workers. Considering the were two of the greatest photographers of that time, perhaps Avedon sought to go the opposite route of Karsh's predominately prestigious and renown clientele. Therefore, instead of immortalizing the subject, he showed his subjects in their true, lowly nature. His capture of Marilyn Monroe is a perfect example. While Yousuf Karsh, would likely seek to capture her in all her beauty and glamour, Avedon sought to take another approach. His shot was of the rarely seen side, the vulnerable, humbler, human side of her.

Gary Palmira has been involved in not only photography but all manners of broadcasting, movie production etc. But, he understood that in whichever form of art, the human character and personality brings it to life. He has set up a webpage with numerous quotes to accompany some of his photography, to express himself through the words of others. Not coincidently is the most similar image to Karsh's photography, accompanied by a quote by Karsh himself, "There is a brief moment when all there is in a man's mind, soul and spirit is reflected through his eyes, his attitude. This is the moment to record"(Yousuf Karsh). The double capture below, emphasizes this concept expertly, seeing into both the older man and child's souls.

George DeLouche loves taking portraits, especially in black and white, like Karsh. He was inspired by Karsh's work, by learning of human emotion and the skill of capturing it. He studied Karsh's photography more closely than others as they shared a mutual affection for the " beauty and dignity of people"(George DeLouche). Which he executes expertly with his simple, classical style. They also have a similar approach to conceptualization and post production, knowing the story they want to tell with the image and utilizing lighting techniques to achieve this. For example the image below, the light focuses on the subjects gaze, accentuating his eyes while diminishing other features in shadow as to not distract from the intended purpose, the story his eyes give.

All in all, I believe Yousuf Karsh influenced many photographers directly or indirectly through his style of photography. Taking the art of portraiture from "still-life", hollow images, to energized personal photographs that interact with the viewer. He set the bar for future photographers to not only capture an aesthetically pleasing image but one with emotion and a concept attached.

Cited:
http://garypalamara.com/Gallery_Photo_Quotes_2.htm
http://en.wikipedia.org/wiki/Richard_Avedon
http://jrphoto.wordpress.com/spotlight-interview-photographer-george-deloache/
http://evanbaines.blogspot.com/2008/11/photographer-deathmatch-karsh-vs-avedon.html
http://www.couvrette-photography.on.ca/ottawa_portrait_photographer/ottawa_headshot_photography.php
http://www.tracymartindesign.com/photography
http://www.tracymartinphotography.com/about.html
http://en.academic.ru/dic.nsf/enwiki/8553481
http://en.wikipedia.org/wiki/Yousuf_Karsh

The New Reality or Fiction? Contemporary Photography.

Alterations are not allowed in press photography but they are one of the tools used in contemporary art photography? Why?

Robert Adams

http://www.answers.com/topic/robert-adams-photographer#Famous_Photographs

Mark Klett

http://americanart.si.edu/images/1983/1983.110.7_1b.jpg

Frederick Sommershttp://yalepress.yale.edu/book.asp?isbn=0300107838

Alterations are in essence an alteration of the truth, misleading readers and distorting the truth and the intention of the article, in regards to press photography. Whereas contemporary photography uses alterations to specifically alter the reality of the image. These are used to achieve the vision of the photographer which is already considered inspiration and creation, therefore expected to be apart from reality. The point above all else in art photography in the fantastical union of reality and imagination wouldn't be achieved without the assistance of editing tools. For example, to create the scene below, two images or a scene and a digitally engineered image together form the image of the figure on the dock suspended in the clouds. This would be impossible, as the photograph it's self defies logic and gravity.
http://www.stumbleupon.com/stumbler/aquieterstorm/reviews/150/

Sommers, Adams and Klett all seemed to focus on nature, landscapes etc. In thier own ways they depicted the world as they saw it and how it appears in reality. Even though their photographs were rarely human portraits, the images demonstrated the connection between humanity and nature, and the state of the world as it stands in recent history. They all tried to capture the interactions bewteen nature and mankind, and show the natural beauty of mother nature despite it's oppression.

Robert Parkeharrison

http://www2.oakland.edu/shatteringearth/artists.cfm?Art=37

The above image shows Robert Parkeharrisons fixation with control over nature. He liked to create his own reality, that although not strictly fabricated, still portayed an image mimicking reality. The reality of his inner desire and those of mankind, because it seems currently we are bent on destruction and dominance of nature.

Vic Muniz used a strange variety of mediums to display his take on reality, I found his images to be unsettling and morbid. He set up his own stages for his photographs, creating reality by substituting relevant objects for objects that in compilation created the desired image, very much like the artist on the famous "Art Attack" british children television show. Muniz recreated classic masterpieces in unconventional ways, like the Mona Lisa by Leonardo Da Vinci, below, wich represents the changes in art and photography, breaking through traditional practices. The medium used was peanut butter and jelly.

Vik Muniz

http://homeschoolersavvy.typepad.com/homeschooler_savvy/2008/01/cheap-art-mat-4.html

 Gregory Crewdson took a slightly different approach, although his images were highly stylized and staged he went to great lengths to ensure realism. Even though the story the image conveys is obviously contrived, he tried to make the photograph so real in it's tones, lighting etc that the viewer would almost be fooled into believing it reality. The ultimate achievement in fantasy photography, pulling the viewer into thier world.

http://thepicture.wordpress.com/2008/07/01/dear-gregory-crewson/

Clearly, photography has come far from the time of nature vs mankind images in thier true state, into an idea now of a new reality. Adams, Sommers and Klett, showed us reality in thier own way. Parkeharrison, Muniz and Crewdson showed us thier own reality. I feel that in the future more and more photography will be contrived as the world becomes more unstable people subconsciously are more attracted to surrealism and fantasy. They want an escape from the reality of some situations as they are confronted by it daily. Also, the fact that technology is advancing at an unprecedented pace means that the tools available to us will be everchanging and expanding, the possibilities are endless and of course artists will take full advantage of all new techniques and equipment.

Web 2.0 photo journal blog. Press versus art photography.

http://www.anvari.org/cols/Photoshopped_Animals.html

The main differences between press and art photography are their intended purpose and editing techniques or lack thereof. A press photograph is usually a supporting piece of evidence associated and relevant to the document it,s accompanying. It should reinforce the topic and emotion of the article, giving the viewer a unadulterated depiction of the subject. This ultimately restricts the photographer to a certain extent because the only creativity they have is in the actual taking of the picture and aren,t able to edit it. Whereas in art photography the photographer has the freedom of altering and changing the photo in the widest variety of ways. Whether it be Photoshop or other editing software, certain types of equipment and film, or different processing techniques, art photography is anything the photograph can devise. Like the above image of an stingray that was photoshopped to look like a monarch butterfly. By using the natural similiarities of the two creature, the photographer emelished that connection by simulating a creature of fantasy, and a stunning photograph. There are obviously limits to art photography as well, like in the instance of commercialism, and advertisement is limited by the theme, demographic etc, but still allows the creativity to change it into something captivating. An example could be the picture below, of a classic car, which may not of been intended for advertisement, could in fact be turned into an ad, by changing the tones, colors and focus to grab the viewers attention. Literally paint, and body work can be restored , using Photoshop or other editing software, and be presented in mint condition, although if this was used in an actual sale would be unethical.

http://deralt.smugmug.com/Other/Winning-PhotoShop-entries/1664_upqxL/3/97039_9Puys#97039_9Puys-A-LB

 

Press and art photography are similar in that they essentially are the same art form, but with specific guidelines that separate them, mainly concerning press photography. They each focus on capturing a certain emotion, a select image that depicts the story they are trying to tell. Other similarities are that they use the same equipment, a camera,lighting, editing techniques. These are all crucial in taking an exceptional "moment in time" shot, one that could never be duplicated.

Is it ethical and acceptable to alter art photography? In my opinion, there are many defining factors to take into consideration. If it is a personal photograph and the integrity of the subject being captured is maintained, than it is acceptable. Or if certain items need to be edited out the make a more aesthetically pleasing image, and it is again for personal use, than yes I agree. For example the image below of  a chef, if she had wanted a personal photograph and wished it to be edited, that is acceptable. But, if this photograph was used in a magazine in an article depicting a chef in thier element, and yet changed the tones of the photo, accenuating the gleam of steel, brightness of the white uniform etc, that would not be ethical, even though those changes seem hamless.

. Also, any photo even a personal one that shows the subject in a demeaning, harmful light, even with consent, is unethical and unacceptable. But, if with consent, I suppose it isn,t infracting any laws or guidelines and is up to their discretion. Also, anytime the photographer-especially with intent to make profit-the subject should give consent and be fairly compensated.

http://www.learn4good.com/colleges/culinary_training_cooking_courses.htm

Is it ethical and acceptable to alter press photography? I don,t agree with altering press photography nor do I think it is ethical and acceptable, because the purpose of the press is to provide us with unbiased information. The news broadcast companies are supposed to give us a clear view of the reality of the situation and if the images supporting them are doctrines, who,s to say that the facts haven,t been tampered with as well? Also, just because something may be undesirable, or upsetting to the viewer or photographer, does not give them the right to change reality, no matter the graphic nature or controversy of the issue. The picture below could have been taken from a different angle to disguise the gravity and extensive damage done to the poor women,s face.  But, the photographer chose rather to take a side profile shot which shows her disfigurement to it,s fullest extent, magnifying the emotion of the tragedy captured in the moment, was a part of "that" moment. An example of this was photographer Allen Detrich, who while working for the Toledo Blade, edited out the leg of another photographer in a shot of a sports team. Although, this might have been a seemingly innocent alteration, was essentially a lie by omission, because it was used in an edition of the newspaper publication.

http://afghanistan.blogs.cnn.com/2010/08/04/meetings-with-bibi-aisha-then-and-now/

Photo Manipulation Assignment

Photo Manipulation

I was excited for this project as I love taking pictures and creating different effects on them. A favourite editing tool of mine is Picnik, which I was introduced to through facebook, I decided to use it for this assignment.

Of the two photographs’ I took, the first has great meaning to me, and I wanted it to reflect my own reflection of that experience. The picture was taken in Las Vegas, Nevada, one of my favourite places and best experiences of my life, There is a certain energy, a life-pulsing air that as invigorating as its attractions, this is the message I hoped to bring forth. In order to create a dreamlike feel, I used "heart’s desire" to create a focal point around me and to give the background a hazy, surreal effect( focal size: 87%, fade: 21%). By doing this it was my intention to draw the viewer into my emotions at that time. I also used "vignette" to give contrast to the overall bright photo, and around the border a "golden glow," which exudes the atmosphere that I remember from Las Vegas. (Size: 70, strength: 40%, colour: yellow-gold, fade: 64%). I decided to use text on this photo to reiterate my message, and because there weren’t any blatant icons of Vegas present, although the photo was taken of the Mirage fountains. The font I used was "Olhol de Boi" which was designed by Billy Argel, this font is both exciting and glamourous, very fitting to emotion of the photo. The last effect I chose was to cross-process the photo, which promoted the dreamlike feel, by highlighting the water, creating a glistening, glossy picture. Overall, I think the editing really conveyed the emotion of that memory and the excitement of Las Vegas.

For the second photograph, I edited a picture of coral taken at Fishbones Restaurant in Detroit, Michigan, from one of their massive aquariums. Fishbone’s is acclaimed for their towering waterfall and extensive aquarium, I’d strongly suggest a visit, if you are ever in the area. This most striking aspect of this photo is the colours and textures of the different coral. Which is what attracted me most to editing it. I deiced to change the temperature to 85 because of the cool tones of the photo, which accentuated the central coral. I also changed the saturation to 67% to give a dramatic contrast between coral and it’s surroundings, looking as most fluorescent glow. After going through many more effects I tried inverting the colours, due to the editing style of this photo it differs very greatly from the first. This picture can be used commercially, in many areas including home decor, fashion, advertisements etc. Whereas the first is the treasuring of a memory accentuating it’s existing qualities. This project showed me the various differences editing can have on the final production, and how one image can be taken across such a broad spectrum. It also helped me view photographs more attentively, wondering about each detail, and how far it had come from it’s origins.

The role of portraits in the early days of photography and portraits today

What are the main differences and similarities between portraits in the early days of photography and portraits today?

Some of the similarities between photography today and in the early stages of it's birth are that the most popular subjects are still people, landscape and food. Though earlier photography was mainly for portraits of people. For the most part I believe photography now and then are quite alien from one another. Currently, there is a multitude of technological advancements such as digital cameras, editing software, lighting equipment etc. Also, artists today use every angle imaginable, and have more going on in the image, whetherr it be a particular editing style, theme, or subjects, we are very creative and are always pushing the envelope. Another huge difference is that now, anyone can take a picture, and quite often they are used as means of communication across the globe, like albums on facebook or images sold on flicker, photography is everywhere.

Who was the photographer and who was the subject of photographs in the past and today?

In the 19th century, photography was mainly used for portraits of nobility, and usually the subjects were limited to humans.The photographers were hired by nobility and were few. Today any subject you can think of has an image available somewhere, as there is a high demand for images for advertisement, which can range from toothpaste to an apple. Basically anything goes. Anyone  can take a picture, and very many do, which is why cameras are so popular, everyday people use them to express themselves and captures moments to remember.

What was the impact of technology on the portraits in the past and today?

Technology has truly changed portraits from the past into something completely different today. Before a picture was what it was, yes you could utilize the best lighting possible, apply make-up etc.But, today you can literally change anything and everything about a portrait. This is very common in magazine editing, where the picture of a women like the one above has been altered to change the shape of their body, to fit what is considered acceptable or the ultimate attainment. This picture of Jessica Alba shows how far photographers go to achieve "perfection", as in my opinion she is absolutely stunning already in the untouched photo.Technology in a way has perverted our perception of the "ideal" body image. People look at advertisements and see the "perfect" body or face and want to achieve that, although the subject in the picture in reality doesn't even look like that.