Surprise Encounter

“Taking pictures is savoring life intensely, every hundredth of a second.”
– Marc Riboud

Photography cannot change the world, but it can show the world, especially when it changes. – Marc Riboud

For me photography is not an intellectual process. It is a visual one…. Whether we like it or not, we are involved in a sensual business. – Marc Riboud

My first reaction at the very idea of this interview was to refuse to talk about photography. Why dissect and comment a process that is essentially a spontaneous reaction to a surprise? – Marc Riboud

I’m often asked: Did you get what you wanted? But how should I know what I wanted?

A photo is an encounter, a surprise. – Marc Riboud

Marc Riboud ( 1923 — 2016 ) photograph of a painter on the Eiffel Tower appears in Life Magazine in 1953 . This is his first publication. Invited by Henri Cartier-Bresson and Robert Capa he joins Magnum Photos agency.

In 1955, he travels by road through the Middle East and Afghanistan to India and by 1957 travels from Calcutta to China which ends in Japan and results into his first book, Women of Japan.

He covered the struggles for independence in Algeria and Sub-Saharan Africa. Between 1968 and 1969 also both South and North Vietnam, .

In the 80s and 90s, he returns regularly in Orient and Far East, especially in Angkor and Huang Shan, but he also follows the rapid and considerable change of China, a country he has been looking at for thirty years.

His work has been distinguished by prestigious awards and is exhibited in museums and galleries in Paris, New York, Shanghai, Tokyo, etc.

(c ) http://marcriboud.com/en/

Love works of all creative persons in all different Field , Hence has a day of the week marked for a particular subject Sunday it is my Photographic Blog and love photography myself and Quotes of Essence by Great creative Genius humans in every walk of Life .

Love all.

(c) ram H singhal

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Truth is the Best Picture

“If your pictures aren’t good enough, you’re not close enough.”
– Robert Capa

It’s not always easy to stand aside and be unable to do anything except record the sufferings around one. – Robert Capa

This war is like an actress who is getting old. It is less and less photogenic and more and more dangerous. – Robert Capa

You don’t have to pose your camera. The pictures are there, and you just take them. The ” Truth is the Best Picture “, the best propaganda. (On the Spanish Civil War, 1937) – Robert Capa

I hope to stay unemployed as a war photographer till the end of my life.– Robert Capa

Robert Capa.London Express/Hulton Archive/Getty Images

ROBERT CAPA ( 1913-1954 )

My brother Robert Capa was born with a language not useful beyond the borders of a small country, Hungary.

Yet he managed to travel all over the world and to communicate his experiences and feelings through a universal language, photography.

The advice Bob used to give to other photographers was: “Like people and let them know it.” That is what he always did. Five years older than myself, Bob inspired and encouraged me, and he showed me the true meaning of brotherhood.

My brother’s life and work constitute a testament to challenges met, and gambles won—except at the end.

What he left behind is the story of his unique voyage and a visual testimony affirming his own faith in humankind’s capacity to endure and occasionally overcome.

–Cornell Capa.

Contax II, the camera Capa used during this period.

Robert Capa, original name (Hungarian form) Friedmann Endre Ernő, (born 1913, Budapest , Hungary—died May 25, 1954, Thai Binh , Vietnam), photographer whose ” Images of WAR “ made him one of the ” Greatest Photojournalists of the 20th Century “.

INDOCHINA (VIETNAM). May, 1954. Motorcyclists and woman walking on the road from Nam Dinh to Thai Binh.

Photography is an Art of Clicking with Present .—– ram H singhal

Love all’

Subject & Picture

“A picture is a secret about a secret, the more it tells you the less you know.”
― Diane Arbus

( The boy in this photograph, Colin Wood, claims that Arbus caught him at a moment of exasperation in this iconic shot. At the time that this photograph was taken, the subject’s famous tennis playing father, Sidney Wood, and his mother were going through a divorce – so their son felt lonely and was experiencing “a sense of being abandoned”.

Child with Toy Hand Grenade in Central Park, NYC, 1962.

The scrawny child holds himself in a tense manner; his right hand clutching a toy hand grenade and his left clenched into a claw like position. This, combined with the disheveled clothes and manic expression on his young face communicates the frustration the boy held and, in his own words, the “want to connect” without knowing how.)

“Love involves a peculiar unfathomable combination of understanding and misunderstanding”
― Diane Arbus

(Diane Arbus’ interest in gender and identity is clear in this intimate portrait of a young man in drag in the stages of getting ready. The ambiguity of the image lies in the contrast between feminine and masculine features – perfectly manicured fingernails on large, manly hands, overly plucked eyebrows arched on a rugged pock-marked face and a strong jawline evident under all of the make-up.

A Young Man in Curlers at Home on West 20th Street, NYC, 1966.

The subject appears vulnerable in the intimate setting Arbus has photographed him in – he is not fully transformed and seems in a type of limbo between who he is and who he wants to be. The defiant look in his eye, however, tells of a determination and self-acceptance in a time where homophobia was rife and there was little to no acceptance of queer people. This image generated shock and outrage amongst the general public at the time, with one viewer going as far as to spit on it as it hung in the Museum of Modern Art in 1967.

“For me, the subject of the picture is always more important than the picture.”
― Diane arbus

This portrait of 7-year-old twin sisters Cathleen and Colleen Wade is probably Diane Arbus’ most recognisable work. The image, which was taken at a Christmas party for twins and triplets in New Jersey, shows the girls standing uniformly side by side – their height, matching dresses and haircuts characterising them as twins.

Identical twins, Roselle, NJ, 1967.

The differing facial expressions of the pair, however, show the strong sense of individuality from each girl and begs the question of whether or not the twins are actually identical, which might be why their parents have claimed that this image is the worst likeness of their daughters that they’ve ever seen. This image gained more notoriety upon the release of cult horror film “The Shining”, when pop-culture fanatics began comparing the girls in the 1967 portrait to the spooky twins featured in Stanley Kubrick’s film.

Diane Arbus is best known for bringing to light those living on the edge of society during an era less accepting than the one we find ourselves in today.

Her exploration of issues surrounding gender and her recording of those labeled “freaks” among the general consensus marked her as controversial during her career, her raw and unusual imagery portraying a very different idea of the New York City displayed to us in the work of other documentarians of the time. 

To celebrate her upcoming show at the Met Breuer in New York here’s a selection of her most iconic images.

Credits : https://www.sleek-mag.com/article/diane-arbus-best-photographs/

Love all.

(c) ram H singhal

“Keep it simple”

“In a photograph a person’s eyes tell much, sometimes they tell all.” – Alfred Eisenstaedt

“I dream that someday the step between my mind and my finger will no longer be needed. And that simply by blinking my eyes, I shall make pictures. Then, I think, I shall really have become a photographer.” – Alfred Eisenstaedt

“It’s more important to click with people than to click the shutter.” – Alfred Eisenstaedt

“I enjoy traveling and recording far-away places and people with my camera. But I also find it wonderfully rewarding to see what I can discover outside my own window. You only need to study the scene with the eyes of a photographer.” – Alfred Eisenstaedt

“My style hasn’t changed much in all these sixty years. I still use, most of the time, existing light and try not to push people around. I have to be as much a diplomat as a photographer. People don’t often take me seriously because I carry so little equipment and make so little fuss… I never carried a lot of equipment. My motto has always been, “Keep it simple.” – Alfred Eisenstaedt

Born in West Prussia, Alfred Eisenstaedt (1898-1995) was inseparable from his camera ever since he was gifted one aged thirteen.

In 1928 he began his photographic career at the agency Pacific Atlantic Photos’ Berlin, capturing key figures such as Hitler and Mussolini.

He later moved to New York, where he spent the next five decades photographing for LIFE magazine, his images appearing on more than eighty covers. He was an extremely influential photographer and has since been called the ‘Father of Photojournalism’.

Love all

(c) ram H singhal

True photojournalism

“I don’t trust words. I trust pictures.”
– Gilles Peress

USA. New York City. 1983. Times Square traffic.

I don’t care so much anymore about ‘good photography’, I am gathering evidence for history. – Gilles Peress

USA. New York City. 2000.

I set out only a provide a visual continuum of experience, of existence. – Gilles Peress

USA, New York. A gay parade in Fifth Avenue. ©Nikos Economopoulos-Magnum

The only true photojournalism is one in which the involvement continues.– Gilles Peress\

Born(December 29, 1946)  in Neuilly-sur-Seine, Gilles Peress made his first photographic series in 1970 after attending the Institut d’Études Politiques (1966-68) and the Université de Vincennes (1968-71). By 1971, he had established himself as a freelance photographer, publishing work in Du, the London Sunday Times, The New York Times Magazine, Photo, and other periodicals.

Gilles Peress’s photography demonstrates his uncommon ability to navigate and communicate the atmosphere and urgency of volatile political environments. While his early work identified him as a “concerned photographer,” his more recent work suggests an increasing concern with form and a more obvious sense of subjectivity. In this respect, Peress’s photographs echo the photojournalism of Henri Cartier-Bresson,

Door details of Castle (18 Centuary ) by ram H singhal

Photos are Journal of Time .

Love all.

(c) ram H singhal