Eve

Richard Burton e Elizabeth Taylor num bar durante a rodagem de Becket, Shepperton, Inglaterra, 1963
(© Eve Arnold/Magnum Photos)

A Magnum está a comemorar o seu 60º aniversário. Uma das iniciativas que marca a efeméride da maior agência de fotojornalismo do mundo passa pela publicação do livro Magnum, Magnum, onde estão representados 69 fotógrafos da cooperativa. As 6 imagens de cada um foram seleccionadas e comentadas por outro membro da agência.

Elliott Erwitt escreveu sobre Eve Arnold. O texto é este:

“If you were asked to conjure up a seasoned journalist-photographer who has travelled extensively, worked in the most difficult and remote parts of our globe, managed to penetrate and be accepted in exotic cultures at one time, and then average or even banal, familiar ones right afterward, all the while observing and recording with great heart and sympathy the manifestations of our human condition, you would surely come up with the legendary Eve Arnold ... a very big person in a very compact package.

Eve Arnold is the quintessential journalist. Or better, she is what the quintessential photojournalist should be. That is, a curious, visual person, the inconspicuous fly on the wall observing situations without participating in them or attracting attention, opinionated but not judgmental.

I have known Eve as a suburban wife and doting mother in the Long Island exurbs fifty miles from New York City, where she lived years ago, and as a literary person and author of many fine works, now based in her sublime, book-lined London apartment. But I know her especially as the intrepid, highly energetic photographer and colleague, producing picture story after picture story, and picture book after picture book, and as a pillar of our Magnum Photos cooperative. In all of Eve's work, as with her person, the special ability has been getting close to her subjects - often becoming a trusted friend, regardless of their caste or fame, while always maintaining the dignity that permeates her character.

Eve Arnold's legacy is as varied as it is fascinating. It is hard to fathom how one person's work can be so diverse. It covers the humblest to the most exalted, the meanest to the kindest, and everything in between. The subjects are all there in Eve Arnold's photographs and they are treated with intelligence, consideration and sympathy. Most important is Eve's ability to visually communicate her concerns directly, without fanfare or pretence, in the best humanistic tradition.”
Elliott Erwitt posted by Sérgio B. Gomes

Magnum, Magnum

d'Agata

Hamburgo, Alemanha, 2003
(© Antoine d'Agata)

Mais um texto retirado do livro Magnum, Magnum. Desta vez Patrick Zachmann escreve sobre Antoine d'Agata, que passou recentemente pela Galeria [kameraphoto].

“I like the idea that Antoine d'Agata is part of the 'Magnum family', because there is nothing more stimulating than trying to make photographers fit in who don't conform to the usual image of our venerable agency. Nothing could be more boring than accepting a new photographer who is a clone of ourselves.

When I saw Antoine's work for the first time, I had a shock. I had become saturated with photography in general, which I found repetitive and limited. I had tried other formats - square, panoramic, colour, then cinema - all in an attempt to escape boredom or repetition. Suddenly, Antoine's work proved to me that with photography you could still surprise and move people.

I really loved these photos that brought me into the world of the night.
I found them unique, moving, sensual, brutal, sometimes even shocking, wavering between desire, pleasure and suffering - one moment attracting us to desirable bodies or exciting situations, and the next to something we have no reason to desire.

D'Agata spares us nothing, and he spares himself nothing. He seems to photograph everything he experiences, in its entirety, to excess. He puts himself in danger and takes photos at moments when most of us would have given up. You cannot tell where the private ends and the professional begins. This is what drives most photographers, in a constant to and fro between the inner world and the outer world. His work shows a need to speak, to show, to reveal oneself, to cry out - a sense of urgency, as if our existence was threatened.

Henri Cartier-Bresson claimed that one has to step back from reality and become invisible. Robert Capa said you have to get so close to your subject that you feel fear. As for D'Agata, while he belongs perfectly properly to the tradition of reportage, he gets close enough to his subjects to make them blurred, and even includes himself in some pictures, as if to show that to leave oneself out would be a delusion.

Whether it is the work of a photographer, painter or film-maker, a work of art makes sense and touches me when it bears traces of the artist's self-portrait.”

Patrick Zachmann

Nuevo Laredo, México, 1998
(© Antoine d'Agata)

posted by Sérgio B. Gomes