Last night, I watched a FANTASTIC film called “The Bang Bang Club” … which knocked my geeky photographer socks clean off. Then with a very small amount of research, I discovered a lot of up-to-date info on one of the film’s real-life counterparts. That compelled me to write. Perhaps a movie-review-of-sorts wouldn’t typically find its way into my blog, but who knows? This could change.

My inner-photographer may be biased, but the true experiences of a close-knit group of conflict photographers during apartheid was very properly brought to life.
The film is based on a memoir written by two of the actual photogs, Greg Marinovich and Joao Silva. I was quite impressed upon learning that the two men were on hand during filming. The behind-the-scenes featurette shows them — cameras shoulder-slung and ready like any proper news photog — coaching actors (including Ryan Phillipe and Friday Night Lights’ Taylor Kitch) through emotions, split-second reactions, and even how to shoot a camera.
Bang Bang is director Steven Silver’s first feature-length narrative … and I haven’t pointed that out as a discredit. He’s an experienced, award-winning feature documentary filmmaker, and I see the doc influence in his direction. The show chose to shoot in the actual South African locations where the apartheid action happened in the early 1990′s. That touch of authenticity is an ingredient for great storytelling.
Then with a single Google search, I learned some news. In October 2010, Silva, one of the real-life shooters, was injured. On assignment in Afghanistan with the New York Times, he stepped on a land mine. On the ground and critically injured, he continued to shoot until he couldn’t hold his camera. Both of his legs were amputated, and he’s since endured a whole host of surgeries and a long rehabilitation, according to the NY Times stories I found. But that isn’t the end of the story.
A patient at the Walter Reed Army Medical Center, Silva photographed its’ closing for the Times.
In September, Silva again picked up his camera for a NY Times “test” assignment. He photographed a medal of honor recipient at the White House, then chatted with President Barack Obama.
And now, his camera slung around his neck, the man completed the New York City marathon yesterday.
An ongoing story like Silva’s new-found challenges is intriguing to me on two levels:
First, photographers who document life typically stay invisible behind their work. I believe most exceptions to my sweeping generality are seeking a spotlight — but not all of them. Some photographers, like Silva, are just working with the hand they were dealt, and that story is compelling enough for primetime. What happens when you know a photographer’s own story? How does your perception of a photo change when you know so much about the shooter himself?
Second — on a more personal level — I often think about what changes when a photographer’s body limits what he/she can do. I’ve joked that if my right index finger were chopped off, well, I always have my middle finger. If I lose my left eye, well, I always have my right one. But I’ve experimented with both alternates and failed miserably — my timing is wayyy off, and I can’t “see” what I’m anticipating. What happens when a photographer must walk with prosthetic legs or use a prosthetic limb?
Check out this smattering of links and articles (mostly from the NY Times Lens blog). These are what got me to ask all these questions in the first place:
Thanks for letting me take this tangent!
– Russell
Posted by gearhartphoto on November 7th, 2011 |
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