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updated
W. Eugene Smith
1918-1978
By the mid-forties it seemed to most talented young photographers that the future of the medium lay with the great new mass magazines. The reason was simple: In the magazines one's work would be seen by tens of millions of people; outside the magazines it was likely to be seen by one's friends. It was understood that the magazines presented difficulties. One's own interests and opinions were not necessarily identical with those of Henry Luce, for example, and it would presumably not be easy to use his machinery to serve one's private ends. But it would not be impossible, and with enough talent and energy and tenacity one might not only use the establishment, but in time reform it.
In historical fact this is not the way things worked out. The problem was not that the establishment was stronger than the photographer, but rather that it was never precisely located, if indeed it existed at all, except as an abstraction. The enemies of photographer (it seemed) were editors and writers and art directors and researchers---the other members of the same committee that the photographer was a part of---who were also trying to use and perhaps reform the establishment, each from a slightly different vantage point. As in the case of most committee productions the result generally didn't wholly satisfy any of the collaborators.
Eugene Smith was perhaps the photographer who tried most heroically to make the magazine photostory meet the standards of coherence, intensity, and personal accountability that one expects of a work of art. Predictably, his insistence on personal accountability did not fit comfortably into the system of group journalism. Other photographers followed the fever chart of Smith's career with almost as much interest as they followed his work. He was an unquestioned leader of the photostory experiment, but his lead was not invariably followed. His function was sometimes that of bellwether, and sometimes that of the canary that is watched carefully in deep mines.
The essays photographed by Smith during the decade after the Second World War remain memorable; they probably represent the highest success that photography achieved within the format of the magazine photostory. It should be added that the stories, as stories, are less satisfactory than the best pictures in them. The whole is somehow less than the sum of the parts. Conversely, the best photographs---like the one reproduced here---transcend the narrative of which they were a part.
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Eugene Atget
1857-1927
The life and the intention of Eugene Atget are fundamentally unknown to us.
A few documented facts and a handful of recollections and legends provide a scant outline of the man:
He was born in Libourne, near Bordeaux, in 1857, and worked as a sailor during his youth; from the sea he turned to the stage, with no more than minor success; at forty he quit acting, and after a tentative experiment with painting Atget became a photographer, and began his true life's work.
Until his death thirty years later he worked quietly at his calling.
To a casual observer he might have seemed a typical commercial photographer of the day.
He was not progressive, but worked patiently with techniques that were obsolescent when he adopted them, and very nearly anachronistic by the time of his death.
He was little given to experiment in the conventional sense, and less to theorizing.
He founded no movement and attracted no circle.
He did however make photographs which for purity and intensity of vision have not been bettered.
Atget's work is unique on two levels.
He was the maker of a great visual catalogue of the fruits of French culture, as it survived in and near Paris in the first quarter of this century.
He was in addition a photographer of such authority and originality that his work remains a bench mark against which much of the most sophisticated contemporary photography measures itself.
Other photographers had been concerned with describing specific facts (documentation), or with exploiting their indivisual sensibilities (self-expression).
Atget enconpassed and transcended both approaches when he set himself the task of understanding and interpreting in visual terms a complex, ancient, and living tradition.
The pictures that he made in the service of this concept are seductively and deceptively simple, wholly poised, reticent, dense with experience, mysterious, and true.
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