Networked Media Week 5 – Analogue Photography

“The photograph itself doesn’t interest me. I want only to capture a minute part of reality.” Henri Cartier Bresson  

Who is the practitioner (what is their name?) and when were they practicing? 

Born in 1908, Henri Cartier–Bresson was a pioneer in photojournalism, although his passion did not always lie in photography. He originally studied literature at Cambridge University in 1928-29 however it was in 1931 that he purchased his first 35mm Leica, the camera that kickstarted his career. In 1947, he created the agency Magnum Photos and continued to work and create in conjunction with travelling around the world. His work exhibited some of the most famous people of the decades including but not limited to, Mahatma Gandhi, Coco Chanel, and Marilyn Monroe. In 1974, Cartier-Bresson decided he was to retire from photography and revert to drawings. His career which lasted approximately 43 years was one that many would dream of, he was a true artist, someone that could not be replicated.  

 

What is the title of the photo or video you have chosen to analyse (can you provide a link?)  With the photo or video, you are examining when was it produced (date)? 

The image I have chosen to analyse is part of Henri Cartier-Bresson’s SPAIN. 1933 collection. The title of the image is “Children Playing in ruins, Seville, Spain” and depicts a group of children playing in the crumbling ruins surrounded by all the rubble. This image became famous after the Spanish civil war broke out, even though it was captured a few years before.

Link: https://pro.magnumphotos.com/Asset/-2S5RYDI8SBYK.html  

This image was produced in 1933, the day and month are unknown.  

 

How was the photo or video authored? For instance, with a photo, this would involve understanding the device used to record it and the technology used to prepare the image for publication. Included in this observation may be how the image was recorded (like for example in a mise-en-scene analysis). 

Due to the period that this photograph was captured it was most likely taken with his 35mm Leica and a 50mm lens. It is thought that Cartier-Bresson liked the 50mm lens because it delivered “an image similar to a scene as seen by the human eye and with minimum distortion”. This camera and lens were small and compact, making it easy to transport around and allowed Cartier-Bresson to quickly bring it out and take a photo with ease and with little constraints.  

The image instantly drew my attention. The image shows a group of children innocently playing in and around the crumbling walls. The juxtaposition of the children in motion and standing still illustrates a very real moment in time, as described by Cartier-Bresson as the “decisive moment”.  Through the use of the wall opening, it gives the audience a look into the background and the past and acts as a pathway to the future for the children, almost like they are breaking through the walls for the possibility for something better.  

 

How was the photo or video published? For instance, with a photo, this would involve understanding the medium the photo was published in, like for instance – was it print media or the World Wide Web? Was the photo printed? If so, how does this printing process affect the photographer’s practice? 

 Although there is not much information about how this specific image was published, it is assumed that like many of his other photographs produced around the time, it was printed on Gelatin silver print, and printed in the later 1930’s.  Due to being taken on a film camera, he would have had to follow the steps in order to print from the film. These steps include but are not limited to developing the chosen development, adding a stop bath and fixer, final rise and finally hanging the page up to dry in a dark room.   

 

How was the photo or video distributed? For instance, with a photo, this would involve understanding how the photo is distributed to multiple viewers. Like for example, if the photo was printed in a periodical magazine – how is that magazine marketed and distributed to viewers? 

 It is assumed that the prints themselves were how the photograph was distributed in their early days. This could have been done through auctions, print media or just selling through Cartier-Bresson himself. It was also likely to be distributed through the exhibitions that Cartier-Bresson held. Specifically, for this image, the first exhibition of his works was in the same year this photo was taken hence it is assumed that it appeared in the Julien Levy Gallery in New York.   

To contrast to today’s media landscape, the image is very easily accessed through digital media and through the internet. Most of his works can be found on multiple websites and hence it allows a greater reach of people to see and purchase his photos. This is something that Cartier-Bresson probably never would have imagined; however, it does make viewers question if this new media landscape takes away the special nature of only having limited copies of images or if it is for the better.  

 

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