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questioning the ethics of a joh which demands that you poke your nose in where it's not wanted. resisting the role of the Samaritan. and telling it as it is. regardless. in glorious. hloody technicolour. in graphic. grainy hlack and white.
‘I Iarry is a man ofintegrity.‘ says (iraham Swift. ‘dedicated to what he does. He is driven by a sense of the continuing need to communicate things which are also so easy to close your eyes to. I would he interested to get a reaction to the hook from real photo-journalists. But not to the extent that their reaction would
VI really he a judgement on part oi'the hook. It's not a hook. in the end.
Graham Swift is regarded as one of the hottest talents in "mm" by l‘l“"”'~l"”"”i"l” 0”“ "hm" Ph"“’l°“r"“'i~‘"‘
, . . . . OIIIICIII COUILI lILIVL‘ I‘L‘L‘II lilkCII — ShOI photography Cu'ncrug‘ {hUUg‘h they town. In his new novel. ()ut oft/us World. he points his _ h}. I mm. [mm Beech. in Graham m W‘mmm mom. But they ML,
of privacy. llorror pictures taken on
pen at the Pentax-toting paparazzn. Alan Taylor sit-ins latest novel ()qufI/zis Mbrld, only. in a way. emhlcmsofthe whole snapped up on a recent Visit to Scotland. has experiencedhis fair share ofthe lulslncssofhow perceive truth. -(lth century s nightmares. As a news how we communicate truth. Do we n a patch ofwasteground in with questions from an HIV' camera photographer it's his joh. or — rather ever know what truth is‘.’ Is it good to West Belfast 21 British soldier crew. We saw the interview on News — was his job. He can remember know truth'.’ Is it good to conceal it'.’ lies naked but for a pair of a! Ten. In The .S'eotsnmn a week or so exactly the moment he gave it up. As All those perennial questions underpants. He has heen hrutally ago. Mr Alhie Sachs was pictured on his father. a munitions happen. in this hook. to he dealt with heaten then shot dead. The Sunday a pavement in Mahuto. manufacturer, is hlown up in his through visual communication.‘ Telegraph made it a front page Mozambique. the victim of a Daimler by an IRA homh. Ilarrv. ()u! oft/us World is very different splash. 'l‘wo Israeli soldiers tend a car-homh. Death stared him in the watching from a window. reaches lmm “WNW/(UNI. SWlll" lhlrd “OWL mortally wounded comrade aftera face. Ilishody was spattered in instincijI-ch' for his mmcm. Hg is. a deep. ruminative. pleasingly-dense shooting in the Arab quarterof blood. a hand almost severed from was. 'the true. unflinching ultimatc ‘good read‘. mired in the Fenlands. Jerusalem. ()ne hreaksoff from its arm. pro.‘ But no longer. Years later. now hrooding with a sense of place and screaming for an ambulance to deal Images of modern war. intrusions upping pcmjnmilslc 1131c, Harry- is history. It was shortlisted for the
Booker Prize in 1983 and was the pundits‘ favourite. the one the
‘heavy' Sundays like to declare was
“ Have you heard the one about the l prolile at a handsome lace. "‘3 pure [00 good in win. The razzmataz/ WhiIe'WaIed SCIBIIIISI? (or, 33V. GIBBI‘ Slatue, pure “Ollywoo‘lu pure ensured that Swift's next hook would impartial observer, orsay, charisma. And it's how Itwas. It must 1k. C105.ch muting-Cd. [gm in.ng ;,
photographer?) He came along once upon a time and said, Now, at last, I can show you how the world really is. Very impressive, very persuasive. Until someone said, Hold on just a second —the tact that you're standing there looking at it is changing the way the world is anyway. It you’re going to tell us how things are, then maybe we should start with you.
Have you noticed how the world has changed? it‘s become this vast display at evidence, this exhibition at recorded data, this continuously running movie.
The problem is what you don’t see. The problem is your lield ol vision. (A
have been. Because the camera showed it. A second later. that marine took a round in the chest and I took two more shots and then some more as they
gothim clear. lwanted the whole I EAST LIFE 67 sequence to be printed. But you cat? I FOOD 59 guess—you know—which single s at
they took. This was ’65. And that I TRAVEL 60 picture got syndicated everywhere, and I CLASSIFIED 52 even got translerred, with or without my knowledge, but never with my consent, on to posters, book-jackets, propaganda hand-outs, even T-shirts. till no one remembered any more, it they had ever known, that this was a picture ota real man, who‘d died
Dim"! Ollhe Who"! WOW!) The r? ’l » ' seconds afterwards, or wondered who ; problem is selection (true, Mr relugees, we need the hall-page lor the he was or what small town in the WOMEN"). "'8 "amt "18 sepafallon airline ad.) Mid-West he came irom (it was
oi the image lrom the thing. The There is a picture at mine (one at the BIOOMinglon. '"dianal. 0' 9"" extraction at the world lrom the world. ‘tamous photos’) at a marine throwing CONSidefed - ll W35 3"
The problem is where and how you a grenade at Hoi An. His right arm is image, it was there- "I?"
draw the line. (Sometimes it's simple: stretched back, his whole body tlexed, someone must have ” Hold those shots at the Atrican beneath the helmet you can see the taken the original pic.
The List 15 — 28 April 1988 49