Bibliography:

Eugene Smith, W. (1993), W. Eugene Smith: His Photographs and Notes. New York: Aperture Foundation

How does W. Eugene Smith, express the notion of family history and relationships in his work?

“Family is not an important thing, it’s everything.” – Once said by W. Eugene smith

 The works of W. Eugene Smith beautifully express the notion of family history and relationships. One of his well-known series is called “The Country Doctor,” whereby he documented the life of a small-town doctor and his interactions with patients and their families. Along with “Minamata,” which shed light on the devastating effects of mercury poisoning on a Japanese fishing community and how it impacted their families. Smith’s photographs in these series capture the intimate moments, struggles, and resilience of individuals and their families, showcasing the deep connections that exist within these relationships. As a response to Eugene’s work I could produce a series of images capturing the relationships and emotions within my family, more specifically the relationship between me and my father, stemming from a shared interest, surfing. Showcasing the bond between me and my father whilst engaging in surfing can similarly reflect the love, joy and connections that Smith’s photographs evoke. For my personal study, I am exploring the theme of nostalgia in relation to my father and his connection to the ocean. Having grown up an avid swimmer, competing for England’s youth team and working full time as a beach lifeguard on the southeast coast. My father moved to jersey in 1996 taking up surfing and further developing his love for the ocean. This subject is important to me as it takes up a large part of my childhood incorporating a sense of nostalgia through the connection me and my father developed through surfing. I have sourced my images from a series of old photobooks produced throughout my fathers lifetime along with newer images that I have produced with the aid of JEP photographer Dave Ferguson. The archive images acted as a base on which I expanded and compared to present day images expressing his past and current connection to the ocean. 

Historically, Smith was an active photographer throughout the the mid-20th century, a period consisting of significant changes in society and traditional family structures, seeing the rise of the nuclear family as the ideal. Smith’s photographs captured these shifts and explored the intracity of family life. Theoretically, Smith’s work explored the depths of family dynamics, analysing themes of love, intimacy, conflict and resilience. Smith captured the essence of these relationships by immersing himself in the lives of his subjects. Humanist photography is an art movement that emerged in the mid-20th century. It aimed to capture the essence of the human condition and shed light on social issues through powerful images. Photographers like Eugene Smith played a significant role in this movement. Humanist photographers believed in the power of photography to create empathy and understanding. They focused on capturing the everyday lives of ordinary people, often in marginalized communities, to bring attention to their struggles and triumphs. Smith’s most famous work, “Country Doctor,” is an example of humanist photography. It documented the life of a small-town doctor, Dr. Ernest Ceriani, and his patients in rural Colorado. Through his photographs, Smith captured the challenges, joys, and sacrifices of Dr. Ceriani and the community he served. This series highlighted the importance of accessible healthcare in underserved areas.

The Photo Essay

“W. Eugene Smith perhaps the single most important American photographer in the development of the editorial photo essay.”

“A photo essay is a form of visual storytelling that develops a narrative across a series of photographs. It originated during the late 1920s in German illustrated journals, initially presenting stories in the objective, distanced tone of news reporting. The photo essay gained wide popularity with the growth of photographically illustrated magazines such as VU, LIFE and Picture Post. It is associated especially closely with LIFE, where the photo essay became a platform not only for informing readers, but for influencing their opinions. Through the middle decades of the 20th century, this visual format would be used to familiarize audiences with the transformations of a modernizing world, entertain them with slice-of-life stories, and introduce them to unfamiliar members of their society.” – MoMA

”The Country Doctor, now recognised as one of the landmarks of 20th century photojournalism, ‘Country Doctor’ was a pivotal moment in the development of the extended photo essay. It signalled the beginning of a golden age of editorial photojournalism that would peak in the 1960s and 70s, when such essays by the likes of Don McCullin, Gilles Peress and Eve Arnold brought dramatically affecting images of conflict, protest and political struggle into millions of living rooms.” – Words by Sean O’Hagan, The Guardian

W. Eugene Smith’s photo essays have been a huge inspiration to many photographers, including Larry Clark, an American photographer and filmmaker. Smith’s ability to tell powerful stories through his photographs, his focus on capturing raw and authentic moments, and his dedication to immersing himself in the lives of his subjects have all influenced photographers like Larry Clark. Larry Clark, known for his documentary-style photography and his exploration of youth culture, has cited W. Eugene Smith as one of his influences. Clark’s work often delves into the gritty realities of life, much like Smith’s photo essays did. Both photographers have a knack for capturing the rawness and honesty of their subjects, whether it’s in the context of family relationships or youth culture.

W. Eugene Smith used various methods and techniques to express the depth of family history and relationships in his work. One of the key techniques he employed was his ability to capture candid and authentic moments. Instead of staged photographs, Smith focused on capturing the genuine interactions and emotions within families. Smith also paid attention to composition and storytelling within his photographs. Through careful framing, use of light and shadow, and attention to detail, he created powerful visual narratives that conveyed the essence of family relationships. Whether it was a close-up of a tender embrace or a wider shot that captured the dynamics between family members, Smith’s compositions were thoughtfully crafted to evoke emotions and tell stories.

When it comes to the ethics of documentary storytelling, W. Eugene Smith had a strong viewpoint. He believed in the power of photography to shed light on important social issues and bring about positive change. Smith saw his role as a ‘documentarian’ as a responsibility to truthfully depict the realities of the world, even if it meant capturing difficult or uncomfortable moments. Smith was known for his immersive approach, spending extended periods of time with his subjects to truly understand their lives. He believed that building trust and establishing a deep connection with the people he photographed was crucial in order to tell their stories authentically. By being present and observant, Smith was able to document the everyday moments that make up a family’s history. In terms of ethics, Smith was committed to portraying his subjects with dignity and respect. He aimed to give a voice to those who were often marginalized or overlooked, shining a light on their struggles and triumphs. Smith’s photographs were not meant to exploit or sensationalize, but rather to create empathy and understanding. Smith’s work also raised important ethical questions about the role of the photographer as an observer and storyteller. He believed in the power of photography to bring about social change and advocated for the use of his images in publications and exhibitions to reach a wider audience. However, he also recognized the responsibility that comes with that power, ensuring that his subjects’ stories were accurately represented and that their consent was obtained.

Smith often used sequencing and storytelling techniques in his photo essays. By presenting a series of photographs in a specific order, he could create a narrative arc that explored the complexities of family history and relationships. This allowed viewers to engage with the photographs on a deeper level and understand the broader context of the subjects’ lives. Many viewers appreciate Smith’s ability to capture the raw emotions and realities of the people he photographed. They admire his dedication to spending extended periods of time with his subjects, immersing himself in their lives to truly understand and represent their experiences. This approach allowed him to create intimate and authentic images that resonate deeply with viewers. However, as with any artist, there may be differing opinions on specific aspects of Smith’s work. Some viewers may critique his approach as being too subjective or biased, while others may question the ethical considerations of his immersive style of storytelling. These discussions contribute to the ongoing dialogue surrounding documentary photography and its role in society.

In this image, we see the immediate aftermath of a tragic incident. The composition draws our attention to the injured girl lying on the ground, surrounded by concerned onlookers. The girl’s body language and the expressions on the faces of those around her convey a sense of shock and concern. The framing of the image, with the girl placed in the center, emphasizes her vulnerability and the impact of the accident. The black and white tones add a sense of gravity and timelessness to the scene, enhancing the emotional impact. We can also observe the depth of field in the image. The foreground, where the injured girl lies, is in sharp focus, while the background is slightly blurred. This technique directs our attention to the main subject and adds a sense of immediacy and intimacy. The emotional impact of this image is crucial. The photographer captures a moment of vulnerability, pain, and concern. The expressions on the faces of the individuals surrounding the girl convey a range of emotions, adding depth and complexity to the image.

In conclusion, Smith’s work expresses notions of family history and relationships through a range of methods and techniques when it comes to storytelling, proving my theory on Smith’s attachment to a sense of family within his work. Although family relationships are potentially not the main focal point of his work, Smith heavily adopts this notion in his outcomes. His main focus being the providing of a voice to those who are often marginalized and overlooked. His beliefs being in the power of photography and the opportunity to shed light on important social issues, bringing about positive change. Smith saw his role as a documentary photographer as a responsibility to truthfully depict the realities of the world. Many ‘documentary photographers’ often stage photographs. Whereas Smith truthfully focused on capturing genuine interactions and events. Steve McCurry, an American news photographer, saw his secrets of his ‘staged/faked’ photography uncovered. McCurry famously shot the image of a girl  an Afghan Girl that featured on the front cover of National Geographic, the image depicts then-17-year-old Sharbat Gula, who McCurry encountered in a refugee camp in Afghanistan in 1984 during the Soviet Union’s invasion of the country. ”Easily the most recognizable image to have ever run on the cover of National Geographic.” McCurry’s troubles began at a gallery show in Italy. An Italian photographer in attendance, Paolo Viglione, noticed something odd in an image McCurry shot in Cuba, sparking a debate on photo ethics.

Photography is an illusion because it creates an image that appears to be a direct representation of reality, but in fact, it is a highly mediated and selective version of reality. The camera lens, lighting, composition, and other factors all influence the way that a photograph looks, and the photographer’s choices about what to include or exclude from the frame can shape the viewer’s perception of the subject. Additionally, photographs can be manipulated through editing software or other means to create images that are completely different from the original scene. Therefore, while photography can capture real moments and events, it is always an interpretation of reality rather than a pure and objective representation. This being said, the truthfulness and reality of Eugene’s images can be argued against, leaving the unanswered question on whether Eugene’s work is genuine.

This exploration into the notion of family history and relationships in Eugene’s work has seen me make numerous links made across differing topics such as photo ethics, audience perceptions of imagery and viewpoints of photographers. Influencing me to second guess the reality, message and backstory of certain imagery.

Links

https://www.theguardian.com/artanddesign/2020/may/14/coronavirus-frontline-hero-rocky-mountain-gp-healed-america-doctors-w-eugene-smith

https://archive.nytimes.com/lens.blogs.nytimes.com/2015/10/14/w-eugene-smith-grants-honor-humanistic-photography/

https://www.moma.org/collection/terms/photo-essay

https://www.businessinsider.com/steve-mccurry-photo-editing-scandal-2016-5

Narrative

An exploration into my fathers connection to the ocean. My photo story will consist of a combination of archive and new imagery aiding me to document the past life of my father in photo form. The story will have a focus on my dad and his attachment to the sea. Imagery differing in age will be used to give viewers a deeper understanding into this relationship and how his love for the sea has shaped relationships among my family

Inspiration – Layout

A comprehensive collection of Leiter’s work, showcasing his unique style and artistic vision. Featuring iconic street photography, abstract compositions and a masterful use of colour. ‘Retrospektive’ not only showcases Leiter’s minimalist photography style but also incorporates a minimalistic approach to the layout. The book’s design focuses on simplicity, allowing Leiter’s captivating images to take center stage. The use of clean lines, ample white space, and carefully curated placement of photographs creates a visually pleasing and immersive reading experience. Leiter’s work has inspired me to adopt a minimalistic sense when it comes to the layout of my photo book.

Layout

I plan for my photo book to similarly take on a minimalist approach, allowing my imagery to ”take center stage”, create a clean and elegant look, and highlight the beauty of each individual image. I would like to use the ”Premium Lustre” paper option, as this paper offers a combination of vibrant colors and a soft textured finish, enhancing the overall look and feel of photos. The cover of my book will be a hardcover as i believe it gives a more professional look to the photo book, along with providing durability and protection. Software such as Blurb, an online self-publishing service allows for a custom design to a photo book’s layout, with its links to Adobe Lightroom Classic, users can edit images and create photo books in one place. Blurb will be used to create my photo book.

Experiments

Final Layout

Selected Images for print

Mock Display Task

Response

Layouts

Inspiration

My focus for this project on the topic of Nostalgia was to create a series of images highlighting my fathers connection to the ocean. Inspired by artists such as W. Eugene Smith and Wade Carroll, an American photojournalist and an Australian surf photographer and filmmaker. Smith has been described as “perhaps the single most important American photographer in the development of the editorial photo essay.” W. Eugene Smith similarly explores the notion of family history/relationships. One of his well-known series is called “The Country Doctor,” whereby he documented the life of a small-town doctor and his interactions with patients and their families. Smith’s approach to documentary photography in terms of family relationships aided me to produce a response producing a series of images capturing the relationships and emotions within my family, more specifically the relationship between me and my father. Wade’s connection to surfing is definitely an important aspect of his photography. He has a deep love for the ocean and the surfing culture, which is beautifully reflected in his photographs. Wade’s work was my main visual inspiration for the images produced, the similarity in terms of the subjects and compositions are apparent in my outcomes

W. Eugene Smith

Wade Carroll

Outcome

Overall, I’m pleased with how my images turned out. I believe both photoshoots were a success and my opportunity to access archived images of my father enabled my photo project to present a deeper understanding into my fathers past life and his connection to the ocean throughout the years. This then enabled me to incorporate a sense of nostalgia throughout as this subject evidently has an importance to me as it took up a large part of my childhood, forming the relationship we have today. The second photoshoot, being of my father in the present day, enabled me to document his on going love for the ocean. I believe I was able to successfully present a series of images that are of visual and emotional quality. The issue of a broken wrist saw me unable to present any in water/action style shots, although necessary equipment was available to do so. I believe this would have improved my image variety and more effectively showcased this connection. To improve my shoots/project, I believe more outcomes in general should be presented, along with a sense of image variety.

Selected Images

Editing Process/Image Selection

Due to the weather conditions on the day of the shoot certain outcomes needed to be altered. The issue of a broken wrist saw holding a camera still an issue, although these selected images seemed to be of good quality. Post Production then saw the exposure of the majority of my images needing to be lowered due to the natural lighting on that day. The crop tool was then used on a few selected images due to the rule of thirds. Certain images were also edited in black and white, enhancing the images emotion. The flag tool was then used to select images I see to be of visual quality along with images relating to the theme of nostalgia.

Final Edits

Editing process

The majority of these images needed a touch up due to their age, the clone stamp tool was used to remove blemishes. Along with the cropping tool to give the images a cleaner look. I also attempted to give a black and white image colour with the use of Photoshop Beta, although this was not successful

Final Edits

This series of archive images are sourced from an old photobook made by my father. I believe the inclusion of these images adds to the sense of nostalgia I am attempting to evoke throughout my project, enabling me to better present my fathers past, providing an more in depth insight into his life. These archive images will act as a base on which I can expand and compare to images I have produced in the present.

1. Research a photo-book –

‘For every minute you are angry you lose sixty seconds of happiness’ – Julian Germain

Overview

In a series of photographs made over eight years, Julian Germain captured the quiet, contemplative existence of an old man living alone in a small house in a city on the south coast of England.

‘I met Charles Albert Lucien Snelling on a Saturday in April, 1992. He lived in a typical two up two down terraced house amongst many other two up two down terraced houses… It was yellow and orange. In that respect it was totally different from every other house on the street. Charlie was a simple, gentle, man. He loved flowers and the names of flowers. He loved colour and surrounded himself with colour. He loved his wife. Without ever trying or intending to, he showed me that the most important things in life cost nothing at all. He was my antidote to modern living.’ – Julian Germain

For every minute you are angry you lose sixty seconds of happiness was first published in 2005, selling out soon after its release; Germain’s affectionate portrait of Charles is now in its third edition, the success of this photobook is evident, genuine and unique image making may be the cause of this success. Elements of tableaux/documentary photography are seen throughout, along with the use of family archives in the form of a photobook as seen below.

2. Who is the photographer?

Julian Germain was born in London in 1962. He studied at Trent Polytechnic, Nottingham and the Royal College of Art, London.

As a photographer, Germain is interested in the documentation of diverse social groups and in the notion of the amateur. He often utilises vernacular photographs, collected from archives, catalogues and family albums, lending his work an anthropological quality and indeed it can be seen to reflect on photography’s place in society as well as record the passage of time.

3. Deconstruct the narrative, concept and design –

• Book in hand: how does it feel? Cover has a rough texture, inside pages are smooth/glossy

• Paper and ink: Use of coloured Images throughout along with grainy/vintage style archived images

• Format, size and orientation: Portrait/235 × 280 mm 80 pages 42 colour plates

• Cover: Hard cover/graphic

• Title: Poetic/quote – For Every Minute You Are Angry, You Lose Sixty Seconds of Happiness.” – Ralph Waldo Emerson

• Narrative: A series of photographs made over eight years, Julian Germain captured the quiet, contemplative existence of an old man living alone in a small house in a city on the south coast of England.

• Design and layout: Pages consist of single image/page layout, minimalistic. Double-spread/archive images

• Editing and sequencing: Effective selection of images/tell us a story

• Images and text: Imagery/ text are linked, text gives us deeper understanding of the narrative –

“I met Charles Albert Lucien Snelling on a Saturday in April, 1992. He lived in a typical two up two down terraced house amongst many other typical two up two down terraced houses, close to Fratton Park, the Portsmouth football ground. I was on my way there to photograph the Portsmouth v Nottingham Forest cup – tie, when I noticed Charlie’s house. It was yellow and orange. In that respect it was totally different from every other house on the street.

Mildly interested and with plenty of time to spare, I crossed the road to have a closer look and discovered that this was actually a kind of shop. In the large front bay window there were a few plants on sale for unusual prices; for example 57p or 34p or 83p. I went inside and there I found some more plants and fiowers sitting in plastic pots on a table covered with newspaper. The bottom half of the walls were wood panelled and painted bright yellow; above that they were decorated, probably in the 1970’s, with a bold paisley / floral style wallpaper.

Charlie appeared; quietly spoken, elderly, polite. He told me what the various flora were and said that yes, he would be happy to put some to one side for me until after the match. We talked for a while and then I asked if he would mind looking after my camera tripod, since I had decided I wouldn’t be using it at the game. He took me through to his living room and showed me where he would put it, ‘just to be safe’

On the walls of this equally brightly decorated room there were numerous photographs of a lady I immediately understood was his wife. I said I thought they were lovely pictures and he told me that Betty had died, ‘a few years ago now.

After the match Charlie gave me tea, a sandwich and some biscuits. He showed me some more photo’s in an album and said he wouldn’t mind when I asked if I could take his picture. A week or so later I sent him the prints and a letter asking if it would be alright to come and visit him again. That is how our friendship started.

Charlie was a simple, gentle, man. He loved flowers and the names of flowers. He loved colour and surrounded himself with colour. He loved his wife. He seemed totally unambitious; all he wanted was for his children to be happy.

Occasionally he would ask if I’d like to listen to some music and then he might play, for example, just three songs from a Nat King Cole LP; but we would really listen to them. Music was never something to have on in the background. He loved words and had the most well thumbed dictionary I have ever seen. He did the Daily Mirror crossword every day. He was not a thinker, but he wondered. I bought him an atlas and he studied it in such detail, amazed by the world. Without ever trying or intending to, he showed me that the most important things in life cost nothing at all. He was my antidote to modern living.”

What was covered

1-Setting up a mobile studio in a carpentry workshop/farm shed photographing wood and furniture. Worked with a 3 studio light set up and mobile backdrop. Connect Magazine

2- Jersey Royal planting. Working in and around heavy machinery. JEP/Bailiwick

3-Photographing States members arriving and leaving the States Chambers. No Confidence vote in the current Chief Minister. JEP/Bailiwick

4-Photographed a model in the studio using available/studio lighting

5-Skateboard action at Les Quennevais Skatepark. Anniversary of the opening of the Skatepark.JEP/Bailiwick

6- Looked at JEP/Bailiwick operations. Role of the News Editor/Creative Team/Sub Editor Team. Discussed current ‘Live’ news going online and how that is managed

States members arriving and leaving the States Chambers

 Anniversary of the opening of the Skatepark

Carpentry Workshop

Studio lighting

Jersey Royal planting

PHOTOSHOOT ONE

• Tableaux style photoshoot consisting of my father and objects that symbolize my father’s relationship with the sea, such as his surfboard, wetsuit, or any personal items

• To present my fathers connection to the ocean throughout his lifetime, use of first and most recent surfboard

• By producing images in a location holding sentimental value to my father, use of close/mid shots, portraits

• Late afternoon when light is soft

• Along St Ouens Bay, favourite surf spot/other locations with meaning

Inspiration

PHOTOSHOOT TWO

• Documentary Style photoshoot consisting of my father/unknown surfers/the landscape/waves, experimenting with long exposure

• To present my fathers connection to the ocean throughout his lifetime/stills of the ocean and surf culture

• Producing series of landscape/long exposure images documenting surf/surfers in action

• Early morning – Colours

• Along St Ouens Bay

Inspiration

W.Eugene Smith

Biography

Born and reared in Wichita, Kansas, W. Eugene Smith became interested in photography at the age of fourteen, and three years later had begun to photograph for local newspapers. He received a photography scholarship to the University of Notre Dame, but he left after a year for New York, where he joined the staff of Newsweek and freelanced for LIFE, Collier’s, Harper’s Bazaar, The New York Times, and other publications. Beginning in 1939, Smith began working sporadically as a staff photographer for LIFE, with which he had a tempestuous relationship throughout the rest of his career.

During World War II he was a war correspondent in the Pacific theater for the Ziff-Davis publishing company and LIFE, for whom he was working when he was severely wounded in Okinawa in 1945. After a two-year recuperation, he returned to the magazine and produced many of his best photo essays, including “Country Doctor,” “Spanish Village,” and “A Man of Mercy.” In 1955, he joined Magnum, the international cooperative photography agency founded by Henri Cartier-Bresson, Robert Capa, George Rodger and Chim (David Seymour), and began work on a large photographic study of Pittsburgh, for which he received Guggenheim Fellowships in 1956 and 1957. Smith continued to freelance for LIFE, Pageant, and Sports Illustrated, among other periodicals, for the rest of his career. From 1959 to 1977, he worked for Hitachi in Japan and taught at the New School for Social Research and the School of Visual Arts in New York and the University of Arizona in Tucson. His last photo essay, “Minamata,” completed in the 1970s, depicted victims of mercury poisoning in a Japanese fishing village.

Country Doctor

A project by W. Eugene Smith. One of his most iconic works. In this project, Smith documented the life and work of Dr. Ernest Ceriani, a dedicated general practitioner in Colorado. Smith spent 23 days with Dr. Ceriani, capturing the challenges, triumphs, and the emotional toll of being a rural doctor.

Through his photographs, Smith beautifully portrayed the intimate moments between Dr. Ceriani and his patients, showcasing the deep connection and trust that existed between them. The project highlighted the importance of accessible healthcare in rural communities and shed light on the sacrifices made by doctors like Dr. Ceriani.

Smith’s photographs from the “Country Doctor” project were published in Life magazine in 1948 and gained widespread recognition. The project remains a powerful example of the impact that photojournalism can have in telling meaningful stories and raising awareness about important issues.

The “Country Doctor” project by W. Eugene Smith can be used as a source of inspiration for producing my own photographic response with a focus on photojournalism. Smith’s work showed the power of capturing real-life moments and telling compelling stories through images. To create my own photographic response, I can start by finding a subject or a theme that resonates with me, this being my fathers connection the the ocean. I can spend time observing and immersing myself in the subject, just like Smith did with Dr. Ceriani. When producing my response I am going to focus on capturing authentic moments and emotions. Looking for the details that tell a story and convey the essence of my subject through my images.