Lets face it; when it comes to photojournalism and the photoraphers who most defined its characteristics, attitudes, aspirations, values and language, we would almost always have to begin with W. Eugene Smith. The master photographer, the passionate soul, the determinedly individual and independent, the singularly human, Eugene Smith raised the bar of not only how one worked as a photographer, but also how one ‘drew’ a photograph onto film.
Who can ever forget the beauty of Tomoko Uemura in her bath, and the genius of the photographer who found a way to represent it:
Tomoko Uemura in Her Bath Minamata, 1972 Copyright W. Eugene Smith
I do not exaggerate when I saw that this was the photograph that back in 1986 first made me think about becoming a photographer. It has remained etched in my mind and soul since.
So it was with some excitement and pleasure that I discovered Sam Stephenson,of Duke University’s Center for Documentary Studies, website for his book The Jazz Loft Project
Stephenson describe’s Smith’s production of this work as ‘…an obsessive achievement’, but clearly, by his own definition, Stephenson too was obsessed for he points out that he:
…made 115 trips to New York City over a span of time that can be measured by telephones and storefronts: I called Robert Frank from a cold, indestructible pay phone at the end of Bleecker, near CBGB; Roy Haynes on a Motorola StarTAC from a brownstone on 9th Street, a few doors from Balducci’s; and, a few weeks ago, Mary Frank on my iPhone from Spoon in Chelsea.
You can read Stephenson’s piece in the new issue of The Paris Review blog where in a piece called The Jazz Loft Project he discussed Eugene Smith’s involvement in this project and the characters and lives that he documented.
This is a wonderfully interesting site, and it is a thrill to see the love, care, attention and detail that has been bestowed on the work of W. Eugene Smith. Stephenson’s inquiries into the life and career of this most amazing of photographers continues as he works on a new biography that will also see him:
… embark on a five-week visit to the Pacific Islands, where Smith made combat photographs during World War II, and to Japan, where he photographed Hitachi City in the early sixties and Minamata a decade later. There are some fifty more people I want to interview as well. The detective work is intoxicating, opening up unexpected worlds outside of Smith’s immediate circle.
W. Eugene Smith was frequently derided in his times, ignored by editors and even fired from his positions at major magazines. But he worked past all of this through the strength of his vision, convictions and self-confidence. His work and his legacy has stood the test of time and remains an inspiration to so many still naively determined to produced beautiful works about beautiful and human issues.
