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Review Apr 17 2009 « | »
The Reluctant Photojournalist: Photographs by Werner Bischof at the Magnum Print Room Tucked away in a small corner of Gee Street, the unassuming Magnum Print Room is paying tribute to Swiss......

Ruth Collins

Tucked away in a small corner of Gee Street, the unassuming Magnum Print Room is paying tribute to Swiss photojournalist Werner Bischof. A contemporary of war photographer Robert Capa, Bischof went from studio work to fashion and cultural photography before finding his true niche in documenting war-ravaged communities. He not only made this his occupation, but also an art form in its own right. From this point on, Bischof became one of the most prolific war photographers of the twentieth century.

The majority of the exhibition is dedicated to some of his most impressive black and white prints. In a world where photojournalism is becoming increasingly dominated by incredibly fast shutter speeds, digital processes and colour photography, Bischof's techniques prove most refreshing, adeptly capturing images which are not just products of their time, but can be kept for posterity.

The five prints depicting Kyoto's silk drying culture are testament to the capacity of black and white photography to capture forms and intensify texture better than its colour counterpart. The silk rises and swells in the wind, revealing the fabric's translucent beauty. The print depicting a prisoner of war camp in North Korea cleverly accentuates the use of backlighting and shadows. This technique highlights the outline of the inmates' laundry as it hangs on the barbed wire of the prison, billowing in the wind, as the prisoners themselves look on from the confines of the camp. This image exemplifies Bischof's ability to transform the ordinary, into something extraordinary and distinctive.

Two prints focus particularly on post-war communities. One choosing to document a group of unemployed Rouenais gathered at the local railway station looking for jobs. The real emotion inherent in this photograph is expertly channelled through the eyes of one solitary figure who faces the camera, glaring back accusatorily into the lens. By contrast, the print of children playing among city ruins in Germany encapsulates an altogether different mood: it hints encouragingly at a triumph over the past and also a fresh start for the devastated city of Brisgau.

The photograph of the young Hungarian orphan taken in 1947 also deserves particular mention. The close-up of the boy's face with tears rolling symmetrically down his cheeks is nothing short of exquisite. It is all the more impressive knowing that it was taken in the days before digital manipulation and editing had even come into existence. With this born in mind, the image achieves an even greater sense of creative depth, poignancy and impact for a modern audience.

The Reluctant Photojournalist: Photographs by Werner Bischof at the Magnum Print Room runs until 15th May. For more information click here.

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