Asher Kelman
OPF Owner/Editor-in-Chief
The closest thing I could come to any influence was with this shot of my L'il Brother.
That alone would have been enough. I'd have been happy to meet your bro, even though he face is hidden. Maybe he has a stash of beer handy! Your second picture is iconic. It does indeed get seared into one's brain once one looks at it for more than a minute.
..... and Max Dupains 1938 shot of the little swimmer
Tom,
Here, I am learning new material and it's interesting that a guy who went for factive work, (over the fictive fantasies of modern advertising), earned his keep supporting the merchandisers.
"The war affected Dupain and his photography, by creating in him a greater awareness of truth in documentary. In 1947, these feelings were reinforced when he read a book Grierson on Documentary which defined the need for photography without pretence. The catchcry was "the creative treatment of actuality". Dupain was keen to restart the studio with this new perspective and abandon what he called the "cosmetic lie of fashion photography or advertising illustration". Refusing to return to the "cosmetic lie" of advertising, Dupain said.
"Modern photography must do more than entertain, it must incite thought and by its clear statements of actuality, cultivate a sympathetic understanding of men and women and the life they live and create."
His documentary work of this period is exemplified in his photograph "Meat Queue". He used a more naturalistic style of photography, "capturing a moment of everyday interaction [rather than] attempting any social comment".[4]" Source Wikipedia
This is a fellow I could learn from myself. I hope to start getting to know his work. Thanks for the intro.
Asher