Elliott Erwitt on the art of photographic sequencing

Andy

Enjoy, one of my favorite photographers of all time.

bfjr

enjoyed it , him and his work.

Richard

Sadly, the video link doesn't work in Spain--the BBC doesn't like us, I guess. :cry

RSL

Thanks, Andy. Elliott long has been my favorite photographer, mainly because of his marvelous sense of humor. Without doubt he's the world's foremost master of the kind of sequential shooting he's talking about in this clip.

Ed911

Pretty good...entertaining for sure.

bdcolen

RSL wrote: »

Thanks, Andy. Elliott long has been my favorite photographer, mainly because of his marvelous sense of humor. Without doubt he's the world's foremost master of the kind of sequential shooting he's talking about in this clip.

Erwitt is a truly great photographer, with a wonderful sense of humor. And the new book is a marvel. But it is not a marvel because "without a doubt he's the world's foremost master of the kind of sequential shooting he's talking about in this clip," but rather it is a marvel because we so rarely get to peak behind the curtain to see how master photographers work scenes. One exception to the lack of peeks is the book "Magnum Contact Sheets," which provides the 'before and after' shots from 70+ Magnum photographers.

The bottom line, however, is that this statement about Erwitt's being the world's foremost master of these sequences is as wrong as a previous statement from this poster about photo journalism's having gone to hell since Eugene Smith shot Country Doctor. Any photographer who understands that "decisive moments" do not flash before their eyes to be captured in a single shot, but rather occur and are captured in the midst of working a scene, taking multiple images, waiting for all the elements to come together in a perfect visual souffle, has countless sequences similar to these in his or her archives. The reason one might mistakenly think that there is something special about Erwitt in this regard is that it is so rare for photographers to share their work product from which a "decisive moment" was plucked.

RSL

Interesting analysis, BD, but, as usual, loaded with unsupported assertions to be accepted without evidence.

First, what you're calling a "decisive moment" isn't what Cartier-Bresson meant by "decisive moment." To him, the decisive moment was when the photographer himself reached an emotional point at which he was ready to bear down on his subject. If you doubt that, read a book in which this point might be made clear to you. One such is Henri Cartier-Bresson and the Artless Art by Jean-Pierre Montier. Give it a shot.

Second, whether or not I'm correct about my point that Elliott is the world's foremost master of the kind of sequential shooting he's talking about is a matter of opinion. Disagreeing with my opinion certainly is legitimate, but, since Erwitt's own clip pretty much supports my view, and his book Personal Best supports it even more extensively, simply saying it's not true doesn't cut the mustard. You need to come up with some evidence, however feeble.

I won't argue with you about whether or not photojournalism's gone to hell since Gene Smith shot "Country Doctor." I'd have to find my earlier statement to that effect even to be sure I stated it that emphatically. But, again, it's an opinion, an opinion, by the way, that has nothing to do with Gene Smith. All I have to do is look at the work from the early years in Magnum Contact Sheets or Magnum Stories, for example, and compare what's there with what's out there now, and I'm convinced. You may not be convinced, but that's your opinion and you're certainly entitled to it.

bdcolen

Go back and read what you wrote about photo journalism, Russ; it was flat out wrong. As is your opinion about Erwitt and sequencing. And by the way, Cartier-Bresson's "decisive moments" emerged from shooting, an shooting, and shooting - he worked his ass off to get them. He shot sequences. What Erwitt has done - very wisely - is realize that his sequences are marketable, and if he markets them, there will be those who think he is the world's greatest sequencer. Obviously, clever guy that he is, he remembers Barnum's famous observation.

RyanS

Fav' quote: "It's kind of silly stuff that I think has some relevance. There's nothing really important happening, but somehow being able to communicate some kind of fun." I love the idea of him pissing people off with a horn. I can picture in my mind a gray-haired grandfatherly figure running around the park with a Leica, honking a horn at people. Sure fire way to get people to think you must be insane.

I've looked through thousands of sequences in my library, and I can't find a single one I thought might be considered funny. Maybe I take myself way too seriously. Does anyone have a sequence like Mr. Erwitt's they can post? I'd love to see more examples.

RSL

Wow, BD! Not sure where to start.

First, you're going to have to point me toward what I wrote about photojournalism that you think is wrong. Seems to me I wrote about it more than once. I could very well have been wrong, but to make the point you'll need to point out what I said and show what was wrong about it. Unsupported assertions may work in newspaper op-eds posing as news: ("research shows..." "experts agree..." etc.,) but this isn't a newspaper.

Second, if you actually read what I wrote about HCB's decisive moment you'll see that it was about what he meant by "decisive moment," which has nothing at all to do with how hard he or anyone else worked to get good pictures.

Regarding my "opinion" about Erwitt and sequencing, did you actually watch the film clip? If you watch it you'll see that Erwitt worked specifically to get sequences, like the deck chair sequence, that could be printed as sequences. His hilarious sequences are anything but chance. And yes, HCB shot his subjects in sequence, bearing down and improving as he went. Who doesn't? He even describes how he went at it. But he didn't shoot sequences to be published as sequences. There's a difference.

bdcolen

Okay then Russ. You are the expert - on everything. And given that each minute or fraction there of that I spend in exchanges with you provides me with no useful insight or information, and can never be regained, I'll stop throwing them away.

Earache

Andy wrote: »

Enjoy, one of my favorite photographers of all time.

Thanks for the post Andy, enjoyable and informative. I live in a rural area, so urban/street photography is fascinating and new to me (to shoot) - so many nuances and opportunities for interpretation both in viewing, and trying to create street images. I'll have to get to town more often and seek out bikes, dogs, and laundrymats. I really enjoy this forum - lots of learning here for a noob.

However, I hope you glean from this thread - "no good deed goes unpunished"

RSL

Fair enough, BD. I'm sure I'd do the same thing if I couldn't support what I say with evidence.

bdcolen

RSL wrote: »

Fair enough, BD. I'm sure I'd do the same thing if I couldn't support what I say with evidence.

rofl:ivar:ivar

lizzard_nyc

RyanS wrote: »

Fav' quote: "It's kind of silly stuff that I think has some relevance. There's nothing really important happening, but somehow being able to communicate some kind of fun." I love the idea of him pissing people off with a horn. I can picture in my mind a gray-haired grandfatherly figure running around the park with a Leica, honking a horn at people. Sure fire way to get people to think you must be insane.

I've looked through thousands of sequences in my library, and I can't find a single one I thought might be considered funny. Maybe I take myself way too seriously. Does anyone have a sequence like Mr. Erwitt's they can post? I'd love to see more examples.

Thank you Andy for the link--great share.

Ryan--I will look at my library now--I am very very curious to see what I find. I love looking at them thru fresh eyes.

sara505

Dear Lord, do you two ever stop?