By: Faye Roselle
This image was taken by Luis Marden on Kodachrome film for National Geographic for the July-Dec, 1955 volume (vol. 108). The viewer is given two subject lines for this image with the first being Standing at the Oars, Fisherman Send Their Craft Streaking After a Swordfish and the second being High Above the Messina Strait, A Lookout Watches for the Shadowy Forms of Migrating Fish. Located in the Messina Strait between Sicily and Italy, the image depicts six men in the forefront of the image with a few men in the background as well, all working to catch swordfish during their migration. Now, what more can we gather from this piece of photojournalism? Walter Benjamin, philosopher and critic, coherently illustrates the conversation about photojournalism as an art form, specifically referencing the “aura” of a photo which we will refer back to later. “When photography takes itself out of the context […] and frees itself from physiognomic, political and scientific interests, then it becomes creative” (Benjamin, 24). This photo is not a mere depiction of men working for their livelihood, but much more. Photographs can transcend mere documentation and allow the viewer to potentially think about the possibilities from those moments that could never be entirely visualized. Walter Benjamin illustrates this as the “optical unconscious” which describes how photography can help us see people, objects, and places in more complicated ways then we would have been able to see. By diving into the optical unconscious, what photojournalism can show us past the surface, the viewer is given a deeper understanding of the moment, the “aura”, of these men fishing in Italy. Photojournalism can further our understanding of an event past the context and surface, even almost 70 years later.
From the newspaper cut-out, “How to Read a Photograph”, found in Hill’s writing, Ralph Steiner discusses photojournalism and its tendency to be overlooked frequently as having a deeper meaning. Since the photojournalist cannot set up his scene, you must look deeper for the essentials. He also discusses how there is not a “right” understanding but a “full” one. This photo has the craft as the subject and center most item but the scene was not set up specifically for that purpose. Marden did not have control of these peoples actions, he just wanted to capture their natural movement. Past the surface level, Marden’s image encapsulates a convergence of tradition, human connection to nature, and the economic fabric of the community. Through this lens, the viewer surpasses the understanding of the pursuit of a fish and moves more towards the unseen narrative. Benjamin states, “the relationships of life and without which photographic construction would remain stuck in the approximate” (Benjamin, 25). Without photojournalism, how could a Hamilton College student adequately picture and grasp a scene from everyday life in Italy from the 1950s. Some would argue that photography is sometimes without purpose, an accidently taken photo on an iPhone or a duplicate of the same one, yet if we only photographed what we deemed important, the representations of life would be profoundly skewed. This is not to say that this photo is unimportant, but more to actualize how a photo of men fishing in Italy can play a greater role in the history of the world and provide representation to many. Kline also discusses this idea of “disinterested photography”, and explains how it allows for creativity and opens up the imagination. The connection between human and nature here is highlighted, promoting an idea of the reliance of humans on nature. Not only do we inhabit nature, we explore it and take from it. Marden’s capture of the pursuit of a fish provides a gateway into a greater unseen narrative.
In the midst of movement, we see each individual man with a role, a purpose. This image captures the natural essence of movement and interaction. It provides an understanding of human connection to nature and the economic thread of the fisherman’s community. From the title, we know the lookout is searching while the rowers push their boat after migrating swordfish. We are not given a description of the man with the spear yet we can assume his purpose which would be to catch the fish. Centermost in the image, they are the subject. We can dive into more of what the image gives in terms of color and positioning, understanding more through what is given on the surface. Today, the Kodachrome film provides a historical perspective, setting it in the past due to the grain and color contrasts. The image has a standout color of a beige/yellow in the sand of the coast in the background and similar to the coloring of the men on the craft, connecting them to the land on which they will return to after their work is accomplished. Between these, there are appearances of blue in the water and sky, signaling a connection between the vastness of space and the ocean and all the possibilities that lie in both. Specifically, the ocean represents a source of income for the men and a source of sustenance. They are lurching forward after this. While this is depicting a scene of consumerism in a sense, I do not believe that this an encouragement of capitalism or particularly trying to sell an idea. Instead, I think this is beautiful documentation of men working together for a greater purpose. They are all working together to catch one fish at a time, to then be split amongst them all. It’s movement and action and gives the viewer an exciting expectation of what would be the next frame? Is the fish already caught? What’s next?
Observing this moment, frozen in time, can unfurl the layers of the optical unconscious and provide a different perspective on the mere pursuit of a swordfish by Italian fisherman in the Messina Strait. Steiner illustrates the notion of looking past the apparent, looking deeper into the connection between the men, and their collective tie to nature. A canvas of color and positioning, the Kodachrome photo reflects not just a historical understanding but a gateway into the essence of their existence. The pursuit of a greater goal echoes, extending past the photo and into commentary on human nature and existence. It illustrates not the importance of consumerism but more a poignant documentation of collective effort. In the depth of this image, the viewer does not only uncover the pursuit of a fish but a timeless depiction of the enduring essence of human nature from a time we have not lived.
Works Cited
Benjamin, Walter. “A Short History of Photography”.
Hill, Jason E. “How to Look at News Pictures in America,” 2016.
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