Joan Crawford maquillándose // Joan Crawford applying makeup (by Eve Arnold, 1959)



“Ser mujer es simplemente una ventaja maravillosa al fotografiar. A los hombres les gusta ser fotografiados por mujeres, se vuelve algo coqueto y divertido, y las mujeres sienten menos como si esperaran tener una relación.”

Lo que sea que haya dicho, el éxito de Eve Arnold en el mundo de la fotografía dominado por hombres se debe menos a su género y más a su extraordinario talento y determinación – compuesto por su capacidad de forjar relaciones íntimas con sus sujetos. Las fotografías – tiernas representaciones de leyendas de Hollywood, exposiciones de figuras políticas como Malcolm X y Joseph McCarthy que provocaron censuras y amenazas de muerte, historias reveladoras filmadas en China, Egipto, Afganistán, Apartheid Sudáfrica y los internados de Inglaterra, un amplio repertorio de trabajo publicitario – habla de una vida dedicada a observar las placas cambiantes de la historia del siglo XX.

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“Being a woman is just a marvellous plus in photographing. Men like to be photographed by women, it becomes flirtatious and fun, and women feel less as if they’re expected to be in a relationship.”

Whatever she may have said, Eve Arnold’s success in the male dominated world of photography was due less to her gender and more to her extraordinary talent and determination – compounded by her capacity to forge intimate relationships with her subjects. The photographs – tender portrayals of Hollywood legends, expositions of political figures such as Malcolm X and Joseph McCarthy that prompted censure and death threats, revelatory stories shot in China, Egypt, Afghanistan, Apartheid South Africa and the boarding schools of England, a vast repertoire of advertising work – speak to a life spent observing the shifting plates of 20th century history.

(via: http://www.anothermag.com/art-photography/7208/eve-arnold-her-extraordinary-life-in-pictures)

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Divorcio en Moscú // Divorce in Moscow (by Eve Arnold, 1966)

eve-arnold-divorce-in-moscow-1966

“No importa si utilizas una cámara de placas o una Leica, lo importante es lo que te motiva cuando estás fotografiando. Lo que he tratado de hacer es involucrar a la gente que yo estaba fotografiando. Hacer que se den cuenta sin decirlo, que dependía de ellos lo que quiseieran darme… si estaban dispuestos a dar, yo estaba dispuesta a fotografiar.” – Eve Arnold

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“It doesn’t matter if you use a box camera or a Leica, the important thing is what motivates you when you are photographing. What I have tried to do is involve the people I was photographing. To have them realize without saying so, that it was up to them to give me whatever they wanted to give me… if they were willing to give, I was willing to photograph.” – Eve Arnold

Silvana Mangano con Brancusi en el MOMA, Nueva York // Silvana Mangano with Brancusi at the Museum Of Modern Art, New York (by Eve Arnold, 1956)

Eve Arnold, Silvana Mangano with Brancusi at the Museum of Modern Art, New York, 1956

“No importa si utilizas una cámara de cajón o una Leica, lo importante es lo que motiva cuando se está fotografiando. Lo que he tratado de hacer es involucrar a la gente que estaba fotografiando. Para que se den cuenta sin decirlo, que dependía de ellos lo que quisieran darme… si estaban dispuestos a dar, yo estaba dispuesta a fotografiar.”
— Eve Arnold

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“It doesn’t matter if you use a box camera or a Leica, the important thing is what motivates you when you are photographing. What I have tried to do is involve the people I was photographing. To have them realize without saying so, that it was up to them to give me whatever they wanted to give me… if they were willing to give, I was willing to photograph.”
— Eve Arnold

Candice Bergen and Michael Caine (by Eve Arnold, 1967)

Eve Arnold SPAIN. Mallorca. More fooling arround. Candice BERGEN and Michael CAINE try out a tango to pass the time. 1967

Eve Arnold SPAIN. Mallorca. Candice BERGEN and Michael CAINE try out a tango to pass the time. 1967

Eve Arnold SPAIN. Mallorca. The final dip in the last step of the tango as Candice BERGEN and Michael CAINE demonstrate it. 1967

Candice Bergen y Michael Caine durante la filmación de ‘El Mago’ hacen una parodia de una danza apache para pasar el tiempo entre tomas. Mallorca, España. 19/06/1967

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Candice Bergen and Michael Caine who are filming ‘The Magus’ do a send-up of an apache dance to while away the time between takes. Majorca, Spain. 19/06/1967

Joan Crawford, Los Angeles (by Eve Arnold, 1959)

Joan Crawford by Eve Arnold - 1

“Si el fotógrafo esta interesado en la gente que hay frente a su lente, y es comprensivo, ya es mucho. El instrumento no es la cámara, sino el fotógrafo.” – Eve Arnold

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“If the photographer is interested in the people in front of his lens, and if he is compassionate, it’s already a lot. The instrument is not the camera but the photographer.” – Eve Arnold

Joan Crawford by Eve Arnold - 2

Joan Crawford by Eve Arnold - 3

Chica que comparte baño y piso con otras tres chicas // A girl who shares a bath and flat with three other girls (by Eve Arnold, 1961)

Eve Arnold - A girl who shares a bath and flat with three other girls

“Si el fotógrafo está interesado en la gente frente a su lente, y si es compasivo, ya es mucho. El instrumento no es la cámara, sino el fotógrafo.” – Eve Arnold

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“If the photographer is interested in the people in front of his lens, and if he is compassionate, it’s already a lot. The instrument is not the camera but the photographer.” – Eve Arnold