Hungarian photographer, Andre Kertész (1894–1985), laid the foundation of modern day photography and its many disciplines including photojournalism and the photo essay, art photography, and street photography. André, or rather, Kertész Andor, was Born in Budapest to a Jewish, middle class family whose aspirations for his future differed to Kertész’s own. At the age of 18, he bought his first camera, an ICA box type, and taught himself how to use it. His early photographs were taken in Budapest, recording moments whenever he could in-between working at the stock exchange. After his service in WW1, he decided to commit to a life of photography.
During the late 19th century, pictorialism was highly prevalent. It emphasised on creating an image to resemble paintings and drawings through the use of various manipulation techniques such as soft focus and atmospheric effects. Innovative approaches to camera angles and composition, similar to what Kertész had done, would not gain popularity for another twelve years. This innovation allowed for the expression of oneself through photographs and new methods to provide a subjective view of the world. André worked in the “spirit of the Leica” long before the Leica had been invented, working with subject matter that pleased him. He photographed what he believed in and would later birth a new genre of photography - the interpretation of the world as seen and presenced by the artist.
Note. By A. Kertész, 1962.
In 1925, he moved to Paris where he would freelance for prestigious publications such as Harper’s Bazaar, Vogue, House & Garden and Colliers. Kertész expressed his deep connection to Paris by stating “Paris accepted me, Paris made me.” In between commissions, he continued to dedicate himself to his personal work, often accompanied by his little Leica 35mm. He avoided excessive virtuosity and described himself as an amateur by choice. Whenever he encountered subject that interested him, he left the responsibility to faithfully capture its essence to his lens. In 1927, Kertész held his first show at the modern art gallery, Au Sacre du Printemps, where his unconventional and distinctive photographs enthralled the Parisian audience and garnered him high praise from critics.
Upon arriving in the United States in 1937, Kertész eagerly compiled his portfolio to present at the offices of Life magazine. The editors, however, did not appreciate his pictures, stating that they “spoke too much.” Their preference was for text to be the main focus of their magazine, accompanied by technically perfect photographs. This ran against Kertész’s belief that the expression was more important than American technical perfection. To him, “technique is only minor.” and to truly express oneself, it was crucial to master technique so one could forget it later on. He typically covered assignments in six to twelve pictures. This frugal number proved challenging for the editors who were used to a larger selection of photographs to compliment the written content. So as not to sacrifice his principles and values, he ended up not working with Life, and many of his photographs (which are now highly sought after), remained hidden away and unpublished.
Note. By A. Kertész, 1925, photograph.
Like Kertész, an amateur is where we have all been, as we have all been curious children who have seen and felt the world’s magic. Holding onto and developing that sense of wonder is essential for anyone who would answer the call of creativity as an impulse for existence. According to Kertész, intentionality plays a crucial role when photographing, passionately urging that photographers must know what they want to do. He understood that without clear intention, one can make countless shots and, by chance, stumble upon something good. Kertész prefers to maintain a high discipline of selectivity and specificity driven by intentionality. He criticises those who shoot without restraint, believing that they lack respect for both the material they worked with and themselves as photographers. Kertész’s main gift was that he sought excellence in his craft and the discipline required to do justice to any subject as he truly believed everything is photographable.
I would add that Kertész inspires to have both the curiosity and love for the craft to effectively form a visual sentence viz to introspect, to learn and, fundamentally, make a photograph that gives conscious value to both the subject and the process. The choice to use Kertész as example for a genuine representation of a beautiful mind rests on the richness of the world that was visible to him. With careful patience, he was able to record it in its many individual forms. His work and teachings provided a framework on how to view the world; how to find the exquisite and the beautiful and how to photograph it. He has led me to reflect on where true beauty is and I would say that it is maybe through the agency of transformed thinking, feeling and willing that one can find it. I hold precious the belief that photographers are powerful storytellers at heart. As I strive to give the vision that seeks material form, it is certainly my task to serve truth, to serve beauty and to serve goodness. Coupled with the willingness to evolve and to caretake one’s thirst for organic insight maybe it can make possible for living excellence as an inevitable path.