10 5 October 2019I http://www.amateurphotographer.co.ukI subscribe 0330 333 1113
THE
VEWS
EXPRESSED
NTH
SCOLUMN
ARE
NOT
NECESSAR
LYTHOSE
OF
AMATEUR
PHOTOGRAPHER
MAGA Z
NE
OR
TMED
AL
MTED
P
hotojournalismsucceeds
becauseof itsapparent
veracity.Weknowimagescan
be‘Photoshopped’butour
expectationis thatthoseusingcameras
asdocumentarytoolsresistmanipulation
beyonddodging,burning,andcropping.
However,a drip,drip,dripof revelations
abouthithertoiconicimagesis steadily
unsettlinglong-standingexpectations.
RobertCapa’sshotsof theD-Day
landingsonOmahabeachstandat
photojournalism’spinnacle.Theymade
Life’s coverwithindaysof theinvasionand
continuetoshapeourunderstandingof
thatbattle.StevenSpielberg’s 1998
D-Dayepic,SavingPrivateRyan, owes
muchtoCapa’simagery.
However,newresearchcastsdoubt
onthestoryof Capa’siconicshotsof the
beachlandings.ADColeman’sdetective
workdeservestobereadin full(see
bit.ly/ddaycapa).Hisrevelationis thatCapa
capturednotthefirstbloodymomentsof
engagement,butsceneshoursafterthe
initialstormingof thesurf.Hispictures
showengineerslayingpath-clearing
explosives,notinfantrymenunder fi re.
Enfoldingmythology
Thatis justonefamouspicturewhose
enfoldingmythologyhasbeenunpicked.
Anotheris SteveMcCurry’s 1984 portrait
of anAfghangirl(yearslateridentifiedas
SharbatGubla),usedbyNational
Geographicasa cover.Itsoriginalcaption
‘Hauntedeyestellof anAfghanrefugee’s
fears’suggestedthatheruneasewasthe
resultof displacementandherparents’
deathsastheUSSR’ssoldiersravagedher
country.Morerecentsuggestionsarethat
shewasfrightenedtobein thepresence
of a Westernmanwitha camera.
Betterunderstandinghowphotographs
cameabout– particularlythosethathave
becomewellknown– is alwaysa good
thing,andphotographersarehonour-
boundtobehonestabouttheir
techniques.Frettingtoomuchwhenit
transpiresthatsomeimagesare
confected,however,canmissthepoint.
Introducea cameratoanysituationand
contrivanceis at play.Theactof selecting
where to point the lens is itself a choice
aboutwhich‘truth’is recorded.
Thequestionforanyonewhoserious-
mindedlyusesa camerais this.Doesthe
momentcapturedrepresenta truth?
Abilitytomakethisjudgement,rather
thanunderstandingcompositionor
exposure,is therealskillof photography.
Somephotographersrecognisethose
momentsinstinctively,othersapply
profoundthoughttodecidingwhich
imageshavethecapacitytoaccurately
tella tale.Howmuchcontrivanceis
acceptableis complexand,at times,
contestable.Addinga familiarobjecttoa
sceneasa cluetothesizeof themain
subjectis anoldtrick,asis askingsubjects
torecreateanapparentlyunposedscene.
Ofcoursevisualchicaneryhasthe
capacitytodeceive,butit canalsobring
importantstoriestowiderattention.
Distinguishingself-servingdeceptions
fromthosethatilluminategreatertruths
is themarkof a photographerwho
hasmasteredtheircraft.Thatthevery
greatestphotographersdothisshouldbe
reasontoadmiretheirskillsallthemore,
ratherthantoautomatically dismiss their
imagesfordishonesty.
TimDawsonis anauthorandjournalist.Hespent
20 yearsworkingforTheSundayTimes, wherehe
wasa sectioneditor.Between 2016 and2018,hewas
presidentof theNationalUnionof Journalists.Visit
tim-dawson.com for more information about him.
Doyouhavesomethingyou’dliketogetoffyourchest?Sendusyourthoughtsinaround
500 wordstotheaddressonpage13 andwina year’sdigitalsubscriptiontoAP,worth£79.
Theideathatthecameradoesn’tlieisat
theheartofreportage.Isthisvalid?
View point
Tim Dawson
© PHOTO BY DAVID SCHERMAN/ THE LIFE PICTURE COLLECTION VIA GETT Y IMAGES
© JOHN FINNEY PHOTOGRAPHY/GET Y IMAGES
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Remarkablephotographs
APstaffandreadersselecttheir
favouriteimagesofthepast 135 years
Landmarkcameras
AndyWestlakelooksathowthecamera
has evolved since AP’s very fi rst issue
TocelebrateAPturning 135
yearsoldweshare 14 pages
of photo tips, for every genre
135
killer tips
In next week’s issue
On sale Tuesday 8 October
A portrait of war photographer Robert Capa
Special anniversary issue