Arquivo da tag: felipe hirsch

voltando à menina…

lembra quando passou, aqui no tico, a coincidência que encontrei de uma foto usada na divulgação

da série “a menina sem qualidades” (MTV), de felipe hirsch, com o clássico “a walk to the paradise garden” clicada

pelo mestre eugene smith, em 1946?

o assunto foi postado no dia 7junho!

enfim, o chapa ®esistro entrou em contato com felipe e mencionou a pauta aqui do poleiro.

pois bem, saca só a consideração (em todos sentidos) do hirsch:

eugene smith & felipe hirsch ou juanita & patrick…

logo ali embaixo, falei da minha fissura pelo fotógrafo eugene smith.

por anos & anos – e até hoje – a xeretinha busca se aproximar de tudo que ele fez.

ângulos, composição, descaralhação… enfim, sempre, tentei (sem sucesso) copiar o Mestre! SEMPRE!

agora, veja bem que interessante…

no que eu estava colocando o Utube de judee sill, aqui no tico, fui catar alguma info sobre a série “a menina sem qualidades” e me deparei com a seguinte chamada…

no que bati o olho, instantaneamente, me veio a lembrança desta outra fotografia…


“a walk to the paradise garden”, cláááááááááássico da Fotografia mundial de autoria de eugene smith…

e com uma História que justifica a inspiração de felipe em usá-la na série da MTV!


prestenção no relato de eugene sobre o click…

W. Eugene Smith was no doubt one of the greatest war correspondents of the last century. As the photographer for Life, he followed the island-hopping American offensive against Japan, from Saipan to Guam, from Iwo Jima to Okinawa, where he was hit by mortar fire, and invalided back.

His war wounds cost him two painful years of hospitalization and plastic surgery. During those years he took no photos, and it was doubtful whether he would ever be able to return to photography. Then one day in 1946, he took a walk with his two children, Juanita and Patrick, towards a sun-bathed clearing:

While I followed my children into the undergrowth and the group of taller trees – how they were delighted at every little discovery! – and observed them, I suddenly realized that at this moment, in spite of everything, in spite of all the wars and all I had gone through that day, I wanted to sing a sonnet to life and to the courage to go on living it….

Pat saw something in the clearing, he grasped Juanita by the hand and they hurried forward. I dropped a little farther behind the engrossed children, then stopped. Painfully I struggled — almost into panic — with the mechanical iniquities of the camera….

I tried to, and ignore the sudden violence of pain that real effort shot again and again through my hand, up my hand, and into my spine … swallowing, sucking, gagging, trying to pull the ugly tasting serum inside, into my mouth and throat, and away from dripping down on the camera….

I knew the photograph, though not perfect, and however unimportant to the world, had been held…. I was aware that mentally, spiritually, even physically, I had taken a first good stride away from those past two wasted and stifled years.  (See original text)

While he was right about his stride towards recovery, Smith miscalculated the photo’s importance. In 1955, a heavily-indebted Smith decided to submit the photo to Edward Steichen’s now-famous Family of Man exhibit at the MOMA. There, it became a finalist and then the closing image, thus cementing its position as the ur-icon of all family photographs.