W. Eugene Smith- Famous Photographer and Champion of Causes

Another great champion of causes and master of the photographic essay was W. Eugene Smith. Smith insisted that his work should attempt to surpass simple reportage; his photographic essays should be passionate and responsible. He felt that his work should be faithful to the 'truth' of the subject, and that this truth should be portrayed as powerfully as possible. He worked for 'Life' magazine until 1954, then went freelance. His photographic philosophy was morally bound. "Photography is a potent medium of expression. Properly used it is a great power for betterment and understanding. Misused it will, and has, fired much trouble. The photographer must bear the responsibility for his work and its effect".

'Life' magazine greatly supported Smith's work, and published many of his major projects, while he worked for them; these included 'American Folk Singers', October 20th, 1947, which was an essay on the people of Blue Ridge Mountain, and was of classic American stature. A year later came 'Country Doctor' which earned Smith a full eleven page spread. Other great publications for 'Life' included 'Recording Artists', 'Nurse - Midwife', and his famous 'Spanish Village'. The responsibility of 'Life' at the end of the day was to produce a weekly magazine, and Smith encountered constant problems, he came to regard deadlines, size limitations and pragmatic compromises as obstacles to his aims. They attempted to bend his creativity to suit the needs of the magazine.

In 1955 he joined Magnum, but only stayed for two years - he was a true loner. He tackled many freelance projects between 1954 and his death in 1978. This was a period of intense personal suffering and poverty. During these years came his project on Pittsburg, and along the way created photography's greatest urban landscape.

Minamata a Photographic Essay

His last essay before his death was 'Minamata', which was of huge creative magnitude. It was a very powerful and emotional essay on industrial pollution, and any doubts I held about the power of photographs to cause change had finally been resolved.

In 1971, Eugene Smith and his Japanese - American fiance, Aileen, accompanied his major retrospective exhibition - 'Let Truth be the Prejudice' - to Japan. There they contacted an activist group concerned with eradication this industrial pollution in the small city of Minamata, where for years a mysterious disease had afflicted its population, killing some people and crippling others. It became apparent that this was caused by mercury pollution from a local factory.

The struggle of the victims and ecologists took several years to obtain recognition and compensation. Smith and Aileen joined a cause that offered excitement, passion and potential danger, and that had international implications. They soon settled in Minamata, integrating with the community on a very emotional level, sharing the experiences and suffering of the victims, even though at personal risk. On one occasion, January 7th, 1972, he accompanied activists to a union meeting with the chemical company, where violence broke out and Smith sustained injuries which were to plague him for years to come.

He brought in everything he had learned to this project - his concern for human rights, his interest in people and his skill as a photographer and editor. Smith had a very broad notion of suffering in everyday life.

Between 1972 - 1975 the Smiths released dozens of photographs, articles and essays that described the acts and consequences of Minamata to magazines as diverse as 'Asahi Camera', 'Camera 35', Business and Society Review', 'Life', 'The Sunday Times' and 'Der Stern'.

In 1975 he assembled the book 'Minamata', showing a powerful representation of human suffering and endurance. Over 150 periodicals and newspapers reviewed his book, including the 'New York Times' to 'National Daily News', and from 'Penthouse' to 'Environmental Science and Technology'. He had brought home the tragic dangers of industrial pollution to millions of people around the world.

He wrote: "Photography is a small voice at best, but sometimes, just sometimes, one photograph or a group of them can lure our senses into awareness. Much depends upon the viewer; in some, photographs can summon, enough emotion to be a catalyst to thought. Someone, or perhaps many among us may be influenced to heed reason, to find a way to right that which is wrong, and may even be inspired to the dedication needed to search for a cure to an illness. The rest of us may, perhaps, feel a greater sense of understanding and compassion for those whose lives are alien to our own. Photography is a small voice. I believe in it. If it is well conceived. It sometimes works. That is why I, and also Aileen, photograph in Minamata".