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The W. Eugene Smith Fund supports photographers whose work follows the tradition of W. Eugene Smith’s humanistic photography and dedicated compassion evidenced during his 45-year career as a photographic essayist. Photograph by W. Eugene Smith, Courtesy of the Center for Creative Photography, University of Arizona.
William Eugene Smith was born on December 30, 1918, in Wichita, Kansas and was introduced to photography by his mother, who was an enthusiastic amateur. His childhood was “typical” until his father committed suicide during Smith’s senior year in high school. His camera quickly became an obsession, perhaps to help Smith cope with his ...
1 feb 2020 · Here, we look at W. Eugene Smith’s photographs made on the set of Charlie Chaplin’s movie Limelight. The photographer captures Chaplin in full, familiar, on-set swing as well as documenting quieter moments where the performative mask seems to slip. You can see other stories in the Magnum On Set series, here.
La vita di William Eugene Smith. Eugene Smith nasce a Wichita, in Kansas, il 30 dicembre del 1918. Inizia a fotografare da giovanissimo. Tuttavia dei suoi primi scatti non rimane più nulla. Infatti, lo stesso Eugene Smith li brucia, anni dopo, ritenendoli troppo scarsi. Il padre si suicida nel ’36, quando Smith aveva 18 anni.
Biography. William Eugene Smith (December 30, 1918 – October 15, 1978) was an American photojournalist. He has been described as "perhaps the single most important American photographer in the development of the editorial photo essay." His major photo essays include World War II photographs, the visual stories of an American country doctor ...
For his groundbreaking 1948 LIFE magazine photo essay, “Country Doctor” — seen here, in its entirety, followed by several unpublished photographs from the shoot — photographer W. Eugene ...
In the midst of the world of press photography, the dogma of which is documentation and objectivity, Eugene Smith upheld a position toward creation and a methodology that were based on subjectivity. The criticism that continues to match the high appraisal of his work to this day in the world of ‘press photography’ may be inevitable, given this entirely subjective approach to creation that ...
