Robert Moses • Photo by Arnold Newman • New York, 1959
Arnold Newman
Robert Moses
New York, 1959
Photo from http://masters-of-photography.com/N/newman/newman.html
What makes this photo powerfully spectacular for me is the unexpected pose. The shadows beneath Mr. Moses’ feet seem natural because they most likely are natural. This photo almost looks Photoshopped but it predates that and I don't think it's trick photography at all. The red girder creates a strong color contrast while the dark suit against the light background adds to the dynamism of the image. Judging from the heavy shadows in the face and neck, this photo was taken in the middle part of the day, with the sun above and behind the subject. Values are lightest with the sky and clouds, with the water and buildings being darker. The figure is in the strongest focus, though the buildings are not by any means blurry, so with this photo Newman achieved excellent depth of field. The sense of space is vast above as well as below and to the left of the subject, who dominates the right middle third of the image. In terms of shape, this photograph is geometric, with strong straight lines. Blue is the predominant color of the sky and water, which allows the red girder and black suit, as well as the buildings and their reflections, to stand out in contrast. In terms of texture, this photograph appears likely to have been presented as slick and smooth, perhaps as a glossy magazine feature centerfold.
For a vantage point and angle, Newman must have stood somewhat further away than typical, and was slightly below the subject. This projects an even greater exaggeration of the feeling of power from Mr. Moses by making him appear to be taller. This photo appears to have been carefully framed to include just the right amount of New York skyline, perhaps even with specific buildings in mind. On the edge further to the left and right I would imagine elements of a such a busy and dynamic city would have to have been cropped; there could easily have been people, seagulls, or boats just beyond the edges of the shot on the shoreline or in the water. The figure of Robert Moses dominates the image but the first thing you notice is that girder, which underlines and accents the figure, as well as suggesting his achievements, along with the roll of papers or plans he carries. There are two main, strong visual contrasts: the dark suit against the light sky, and the red girder against the green-blue water. In terms of composition, there is also an excellent contrast between the detailed horizon line and the simple blue skyline. There is a repetition of the skyline reflected in the water. Variety comes mainly from the red beam, the girder. There is textural complexity of line with the buildings that is set off by the smoothness of the water. This is not a symmetrical photo; the visual weight is on the right side. The top has essentially no visual weight but the bottom has a great deal more visual weight than the typical photograph.
This photo was shot at a time and era when color photography was becoming more typical and artists were exploring the use of color. Many other photographs from this time period were still black and white. It is likely that Newman had good access to the best possible photographic equipment, considering the era as well as the location and subject. Since 1959 was the year Kodak introduced Ektachrome film, it is possible that was used for this shot. It was the fastest color film on the market at that time (source: Kodak.com).
According to the New York Sun (http://www.nysun.com/arts/robert-mosess-vision-of-new-york/46974/), Robert Moses was a master builder whose legacy is associated as being the man most responsible for combatting urban blight and shaping the urban landscape of the modern city as it is known today. As parks commissioner in 1934, Moses built parks and parkways, new parklands, playgrounds, bike paths, jogging courses, the Narrows Botanical Gardens, the Verrazno Narrows Bridge (1964) and more. The great photographer Arnold Newman, by being mindful of these accomplishments, captured the sense of splendor and achievement in this single image of power and beauty.
Probably for Newman (1918-2006) and Moses, the day this shot was taken was just part of another day’s work. But to many people today – more than 50 years later it has stood the test of time and is regarded by many as one of the great photographs of history. Newman was the founder of the Environmental Portraiture movement, and coined the phrase (source: http://en.wikipedia.org/wiki/Arnold_Newman). This photo is an excellent example of the style.
Robert Moses
New York, 1959
Photo from http://masters-of-photography.com/N/newman/newman.html
What makes this photo powerfully spectacular for me is the unexpected pose. The shadows beneath Mr. Moses’ feet seem natural because they most likely are natural. This photo almost looks Photoshopped but it predates that and I don't think it's trick photography at all. The red girder creates a strong color contrast while the dark suit against the light background adds to the dynamism of the image. Judging from the heavy shadows in the face and neck, this photo was taken in the middle part of the day, with the sun above and behind the subject. Values are lightest with the sky and clouds, with the water and buildings being darker. The figure is in the strongest focus, though the buildings are not by any means blurry, so with this photo Newman achieved excellent depth of field. The sense of space is vast above as well as below and to the left of the subject, who dominates the right middle third of the image. In terms of shape, this photograph is geometric, with strong straight lines. Blue is the predominant color of the sky and water, which allows the red girder and black suit, as well as the buildings and their reflections, to stand out in contrast. In terms of texture, this photograph appears likely to have been presented as slick and smooth, perhaps as a glossy magazine feature centerfold.
For a vantage point and angle, Newman must have stood somewhat further away than typical, and was slightly below the subject. This projects an even greater exaggeration of the feeling of power from Mr. Moses by making him appear to be taller. This photo appears to have been carefully framed to include just the right amount of New York skyline, perhaps even with specific buildings in mind. On the edge further to the left and right I would imagine elements of a such a busy and dynamic city would have to have been cropped; there could easily have been people, seagulls, or boats just beyond the edges of the shot on the shoreline or in the water. The figure of Robert Moses dominates the image but the first thing you notice is that girder, which underlines and accents the figure, as well as suggesting his achievements, along with the roll of papers or plans he carries. There are two main, strong visual contrasts: the dark suit against the light sky, and the red girder against the green-blue water. In terms of composition, there is also an excellent contrast between the detailed horizon line and the simple blue skyline. There is a repetition of the skyline reflected in the water. Variety comes mainly from the red beam, the girder. There is textural complexity of line with the buildings that is set off by the smoothness of the water. This is not a symmetrical photo; the visual weight is on the right side. The top has essentially no visual weight but the bottom has a great deal more visual weight than the typical photograph.
This photo was shot at a time and era when color photography was becoming more typical and artists were exploring the use of color. Many other photographs from this time period were still black and white. It is likely that Newman had good access to the best possible photographic equipment, considering the era as well as the location and subject. Since 1959 was the year Kodak introduced Ektachrome film, it is possible that was used for this shot. It was the fastest color film on the market at that time (source: Kodak.com).
According to the New York Sun (http://www.nysun.com/arts/robert-mosess-vision-of-new-york/46974/), Robert Moses was a master builder whose legacy is associated as being the man most responsible for combatting urban blight and shaping the urban landscape of the modern city as it is known today. As parks commissioner in 1934, Moses built parks and parkways, new parklands, playgrounds, bike paths, jogging courses, the Narrows Botanical Gardens, the Verrazno Narrows Bridge (1964) and more. The great photographer Arnold Newman, by being mindful of these accomplishments, captured the sense of splendor and achievement in this single image of power and beauty.
Probably for Newman (1918-2006) and Moses, the day this shot was taken was just part of another day’s work. But to many people today – more than 50 years later it has stood the test of time and is regarded by many as one of the great photographs of history. Newman was the founder of the Environmental Portraiture movement, and coined the phrase (source: http://en.wikipedia.org/wiki/Arnold_Newman). This photo is an excellent example of the style.