In comparing photographers, Kertesz and Cartier-Bresson to Smith and Salgado, we completely get a whole different spectrum of photography; in a sense that their beliefs are completely different from one another. Therefore the similarities of the two groups are scarce. One major similarity I did find however is the fact that both groups are photo journalist. In essence what that really means is how the two group use photography to depict stories or news. Another similarity is that the pictures that the two groups take usually depict of the current situation- but that’s where it all ends in terms of similarity.
Although they depict the current situation, rest assure that the photo’s itself has either been adjusted by Smith and Salgado with lighting or other post production work in the dark room or that it was captured the moment without any post production. Post production was considered a faux pas in the photography circle, it was said to be that photographers are to “resist being manipulated by staged photo opportunities” and that photo journalists should respect the integrity of the photographic moment.
Kertesz and Cartier-Bresson believed that capturing the moment regardless of time and environment is the best way of depicting the photo. An example of such capturing the moment would be Kertesz’s “Landing pigeon” picture in New York City (1990). Kertesz commented that it took “maybe 30 years for that instant”. The need to be invisible is also prevalent in both of Kertesz and Cartier-Bresson work. Cartier-Bresson would describe the action of tip-toe picture, velvet hands, and hawk’s eyes. Because of such stealth state both Kertesz and Cartier-Bresson believed that the proper expression would be present if there were no disruptions in the photo – capturing the real moment of the action.
On the other side, Smith and Salgado believed that being involved in the photograph is the best way of capturing expression. Salgado will often enter the circle and interact with his subjects in order to get closer and squeeze more expressions from the subject. The photo’s that Smith and Salgado take, it makes the subject feel as though that the one taking the photo is so close to them, they feel that the photographers are in the photos. A great example of that is Smith’s picture of the “Spanish Wake” whereby he captured a family that was all mourning the deceased. Smith’s view of “I give myself to the story” is prevalent in most of the photo’s that he took. Compared to Kertesz and Cartier-Bresson, Smith and Salgado were not shy of post production work in the dark room. Often changing lighting in order to guide the audience on how Smith and Salgado wanted to convey their photos.
If I had to choose which of the two groups were more effective in depicting and illustrating their photos, it would have to be Kertesz and Cartier-Bresson. I really adore the patience of Kertesz and Carter-Bresson in taking their photos. They believed that capturing the moment of a photo, rather than adjusting the photo in post production is key and honestly I believe that too. The rawness and reality of the photo that Kertesz and Cartier-Bresson is what you really want from a photo journalist; photos that are natural and depicts the story through the work of capturing the moment.
Sources: all from course lecture notes
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