f I \ry Wolf International Annual of Advertising Photography-Second Volume Internationales Jahrbuch der Werbephotographie - Zweiter Band Annuaire international de la photographie publicitaire-2e volume 1 I'1 la I 67 [Cpcher Text: Seite 43] francais: page 50] 1'I 3£ LB Mil iidcto OdlS? tam BÊjrp. >M -t 3 bn 1SS,S I OH a?' |C 1 ass lOTOGRAPHis, the only annual of advertising photo- gthy, has now entered its second year. The importance oil is international review of current trends and achieve- m :s is obvious at a time when photography already di inates the advertising field and is beginning to venture ointo a more imaginative idiom. In the introduction to th econd issue of Photographis, the eminent American 111!irector Henry Wolf gives some thought to the present sittion, and an abridged version of his text is reproduced hf with a selection of work from the book. Editor otographis, das einzige Jahrbuch der Werbephoto- igfllie, ist soeben zum zweiten Mai erschienen. Die Be- duung dieser internationalen Übersicht über aktuelle Tdenzen und Leistungen ist offensichtlich in einer Zeit, ddie Photographie auf dem Gebiet der Werbung domi- niIn der Einführung zum zweiten Band von Photo- Gi'His macht sich der massgebende amerikanische Art Hctor Henry Wolf einige sehr interessante Gedanken 1 ill! die gegenwartige Situation. Wir geben hier eine ge lifte Fassung seiner Ausführungen, begleitet von einer Awahl von Illustrationsbeispielen. Redaktion otographis, un annuaire de la photographie publici- ta: unique en son genre, vient de sortir de presse pour la sejide fois. L'importance de ce répertoire international dijendances et des realisations actuelles est évidente a urjépoque oü la photographie domine nettement le do- imle publicitaire. Dans la preface du second volume de Pi ographis, Henry Wolf, directeur artistique américain Iq lus influents, commente avec brio la situation actuellc. trouverez ci-après un résumé de ses considérations, acfnpagné d'exemples sélectionnés parmi les illustrations dt juvrage. Redaction Until the photograph there was no really believable image. A person or an event could only be remembered by an eye-witness and passed on by a description in words (writing) or in pictures (painting or drawing). The more gifted the witness, the more interpretative the descrip tion became. The Mona Lisa may be a combination of many women's faces or even entirely a creation of da Vinci's fantasy, but the faces of FDR, of Greta Garbo, of the i960 Cadillac are immutable factsmillions of documents all over the world exist to prove their exact physical appearances. It is this credibilityand not any of the other qualities ascribed to itthat is photo graphy's primary importance. During the centuries of Belief, images were largely created for and around religion. Painters painted Heaven. All illusion was permissible since there was no proof to the contrary. Not by technological accident alone did the advent of photography coincide with the start of the Industrial Revolution. The picture-makers turned their eyes away from myths in the sky towards reality on earth. As faith declined, proof did become necessary; the photograph is our document and the camera both a symptom and a necessity of the Age of Realism. Industry has replaced the Church in the role of the patron, and photography is its favourite art form. It is hard for anyone to live through a day without having to look at hundreds of photo graphs. From the sides of buses and the ceilings of subway cars, from magazine pages and displays over lunch counters, through the mail and from the TV screen they inform, communicate and try to sell the products of the patron. As super-salesman to industry, the photograph's great virtue remains its intrinsic inability to lie. The lady on the bus stares at an advertisement for eye shadow in which a girl many times life- size looks very beautiful. She really is wearing bright blue eye shadowit's in the photograph. The girl looks the way the lady would like to lookmaybe she's with a man infinitely more sexy-looking than the lady's husband. When the lady gets off at her bus stop, she steps into the nearest drug store and buys a tube of the blue eye shadow. The photograph has lied only by implication (the lady will never look like the girl because she's twenty years older) and by association (the home-coming husband will still be a tired businessman). The cost of provoking this mirage far exceeds the cost of the eye shadow itself, but the price is figured into the little packagethe consumer pays to be seduced by the advertiser and loves it. Such a manoeuvre (if it is to be repeated) must be done with humour, tact and charm. The great stark eye-witness lens of Mathew Brady has had to learn a few waltz steps. The photographer can never start from zero like the sculptor confronted by a ton of shapeless marble. This is both photography's lack as an art form and its tremendous incentive to its practi tioners the very narrowness of the arena in which they can assert their individuality makes them inventive by necessity. Here the soul of the earlier gifted eye-witness survivesthe gifted photo grapher interprets rather than just reports. The artist in him has found ways of inserting himself by censoring what he is willing to put in front of his lens and by increasingly manipulating his way of recording it: he has the choice of subject, the choice of viewpoint, several choices of optical distortions, the choice of real colour, unreal colour, or the absence of colour. And others. The purpose of this book is to have a yearly check on the blood pressure of this forcewhether you are a cynic and view most photography as just another tool of business or a romantic who sees the photographer as a striving artist doesn't alter the fact that great activity has produced a tremendous output of work. A scrutiny of this work inevitably raises the old question of what constitutes a good or a great photograph. For me there are two kinds of great photograph. The first is a picture dependent on 37

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