Yousuf Karsh 1908 - 2002
Yousuf Karsh was born in Mardin, Armenia on 23rd December 1908, to Armenian parents. He is one of the masters of 20th Century photographer. His body of works includes portraits of statesmen, artists, musicians, authors, scientist, men and women of accomplishment.
His extraordinary and unique portfolio presents the viewer with an intimate and compassionate view of humanity.
His father could neither read of write, but has exquisite taste. He travelled to distant lands to buy and sell rare and beautiful things, furniture, rugs and spices. HIs mother was educated and was extremely well read, particularly in her beloved Bible.
Yousuf was the eldest child, he had 3 brothers and a sister who died during a severe Thyphus epidemic. A younger brother was born later in Syria.
In 1922 they fled Armenia to Syria, they lost everything. His father painstakingly rebuilt their lives. Despite the continual struggle, he somehow found the means to send Yousuf to his uncle Nakash in Canada, in 1925.
Uncle Nakash was a photographer of established reputation, still a bachelor and a man with a generous heart.. Yousuf was 17 and did not speak english, we was accepted at school and for the first time was shown warmth and this made him love his adopted land.
Burying his desire to study medicine he went to work with his uncle at his studio. The art of photography captivated his interest and energy - although he didn't realise at first.
Every weekend he took photographs with a camera, a gift from his uncle, who was a valuable and patient critic.
Yousuf took a landscape picture with he gave to a friend as a Christmas present. His friend entered it into a competition and it won first prize - he won $50, some of this money he sent to his parents.
His uncle arranged for him to do an apprenticeship with a fellow Armenian, John H Garo of Boston. Garo encouraged him to attend evening classes in Art and to study the work of great masters, especially Rembrandt and Velazquez.. Although he never learnt to paint, he did learn about lighting, design and composition. At the public library in Boston he became a voracious reader in the humanities and began to appreciate the greater dimensions of photography.
He had originally been sent to Boston for 3 months, this turned into 3 years. In Garos studio he learned many of the technical processes used by photographic artists of that time. Learning these processes made him strive for perfection.
Garo taught him more than techniques alone, he taught him to see, and remember what he saw. "understand clearly what you are seeking to achieve" "and when its there record it, Art is never fortuitous".
Garos' health worsened and he died in 1939. At this time Yousuf was struggling with his first independent studio in Ottowa. He had left Boston in 1931 to return to Canada.
It is rarely possible to repay directly those who have rendered us great personal kindnesses. But is also futile to rationalise and say that the time for sacrifice, to repay just moral debts, is past - for I do not believe this time ever passes. Nature does not often collaborate with men to permit simple repayment, whether the debt is from son to father, soldier to comrade, pupil to master. We may never be able to repay directly for the gifts of true friendships - but pay we must, even though we make our payment to someone who owes us nothing, in some other place and at some other time.....
Yousuf Karsh once in Ottowa, was fortunate to meet B K Sandwell the editor of a prestigious periodical, Saturday Night. His photographs were reproduced for the first time in his magazine.
Yousuf had few friends in Ottowa during the early days and welcomed an invitation to join the Ottowa Little Theatre, an enthusiastic group of amateur players. The casual invitation was to have lasting effects on his life and career. The experience of photographing actors on stage with stage lighting was exhilarating. The unlimited possibilities of artificial light where overwhelming.
Working with daylight in Garos' studio they often had to wait, often hours, for the light to be right. in this new situation he found himself in instructions were given by a director - he commanded the lighting to do as he wished - creating moods, selecting, modifying, intensifying - a new world was opened to Yousuf.
Lord Duncannon from the theatre group persuaded his parents to sit for photos and after a few poor attempts he finally produced excellent pictures, eventually being printed in newspapers across Canada.
Yousuf Karsh also met his wife Solange Gauthier at the theatre group. She was a great source of encouragement and inspiration. Solange shared her knowledge of music, literature and drama with Yousuf, who had missed out on this learning in his younger years. When she died in 1960 he made an award to present for the best One-Act-Play in Canada.
In 1936, Franklin Delano Roosevelt was the first American president to make an official visit to Canada. Yousuf was invited to take his picture and this resulted to be his first foray into photojournalism - it was also his first meeting with Prime minister Mackenzie King, he in time became a friend and patron. Prime Minister King made it possible for Yousuf to photograph Winston Churchill in Ottowa in December 1941. The worlds reception of this photograph changed his life.
In 1943 he sailed to England. In wartime London, Yousuf photogrphed one personality after another - George Bernard Shaw, the Arch Bishop of Canterbury and the royal family. It was in London where he started to do 'his homework', regarding the person he was photographing. Finding out as much about the person before her photographed them. He returned to Ottowa with his international portfolio.
Anywhere he set up his lights would become his studio. Photography took him to many fascinating parts of the world.
After the war his parents and family joined him in Canada. He met his second wife whilst photographing her boss. Estrellia Nachbar was a gifted medical writer and historian, they married in 1962.
As a medical contribution he began to photograph, The National Poster - Children of the Muscular Dystrophy Association.
After 60 years, in June 1992, he closed his studio in Ottowa - over the years he had a number of graduates who he taught just as Garo had taught him.
In 1997 he and Estrellia relocated to Boston.
Yousuf Karsh had an endless fascination for people - what he calls their inward power. It is part of the elusive secret that lies in everyone, he says "it has been his lifes work to capture it on film. The mask we present to others and too often ourselves, may lift for only a second - to reveal that power in an unconscious gesture, a raised eyebrow, a surprised response, a moment of repose. This is the moment to record.
The search for greatness of spirit has compelled him to work harder and strive for perfection - knowing it to be unobtainable. His quest has bought him joy when something close to his ideal has been attained . It has kept him young at heart and adventurous, forever seeking, and always aware that the heart and mind are the true lens of the camera.
HIs own professed intentions in his portrait photography were - 'to stir the emotions of the viewer and to lay bare the soul' of his sitter.
Here are a couple of photograph I have chosen ... Firstly his picture of Winston Churchill.
1941 WINSTON CHURCHILL
1956 AUDREY HEPBURN
This is classic beauty, she is relaxed and elegant. Her dark hair and clothes against the light background. Her face is gently lit with no harsh shadows. The angle of the pose makes it a little different, her eyes looking down.
1963 ESTRELLIA - YOUSUFS WIFE
This is one of my favourites.. Estrellia has quite strong features and this is a profile picture again both elegant and classic but beautiful too.. its lovely to take pictures of those you love.
She looks happy to have her photograph taken, she must have been pleased with the result.
This photo really interested me, as I learnt a lot reading about light and reflections, and before that reading I would have looked at this picture completely differently.
1957 Earnest Hemmingway
This is a 'comfy' picture, just like the jumper he is wearing, his face well lit with focus on the eyes, he looks a gentle shy man, with a rugged, bearded face. I love looking at this picture.
1938 YOUSUF KARSH
This is probably my least favourite picture. This is a self portrait of Yousuf, to me it seems all out of proportion - I know thats probably the intention - but this isnt one of those pictures I enjoy.. however I saw another of his self portraits which was him in a garden with his camera and the photo was a reflection in a garden glass bowl. It was really interesting and a bit different and a contrast to the one above !
___________________________________________________________________________________________
FURGUS GREER
Here I have three pictures taken from The World's Top Photographers, by Fergus Greer . The first - which I love - is of Princess Margaret, taken by Lord Snowdon. Its truly beautiful.
This second one just brings a smile to my face. The photo says it all. Im a Tommy Cooper fan and here he is in his silly hat and face, but is dressed smartly in his suit and tie. He looks like he is about to do something stupid, and probably did.
It was taken by Lord Lichfield.... as Lord Lichfield says in this book... you can tell he is a comedian !!
And lastly something a bit different but very eye catching, or it appeals to me. This picture is by Isabel Snyder, on first looking at it I thought the model was wearing stripy tights, she actually is naked and it is the shadows of the fence (which may not have scanned in properly - but its there to the right ) .... bit cheeky.
Yousuf Karsh was born in Mardin, Armenia on 23rd December 1908, to Armenian parents. He is one of the masters of 20th Century photographer. His body of works includes portraits of statesmen, artists, musicians, authors, scientist, men and women of accomplishment.
His extraordinary and unique portfolio presents the viewer with an intimate and compassionate view of humanity.
His father could neither read of write, but has exquisite taste. He travelled to distant lands to buy and sell rare and beautiful things, furniture, rugs and spices. HIs mother was educated and was extremely well read, particularly in her beloved Bible.
Yousuf was the eldest child, he had 3 brothers and a sister who died during a severe Thyphus epidemic. A younger brother was born later in Syria.
In 1922 they fled Armenia to Syria, they lost everything. His father painstakingly rebuilt their lives. Despite the continual struggle, he somehow found the means to send Yousuf to his uncle Nakash in Canada, in 1925.
Uncle Nakash was a photographer of established reputation, still a bachelor and a man with a generous heart.. Yousuf was 17 and did not speak english, we was accepted at school and for the first time was shown warmth and this made him love his adopted land.
Burying his desire to study medicine he went to work with his uncle at his studio. The art of photography captivated his interest and energy - although he didn't realise at first.
Every weekend he took photographs with a camera, a gift from his uncle, who was a valuable and patient critic.
Yousuf took a landscape picture with he gave to a friend as a Christmas present. His friend entered it into a competition and it won first prize - he won $50, some of this money he sent to his parents.
His uncle arranged for him to do an apprenticeship with a fellow Armenian, John H Garo of Boston. Garo encouraged him to attend evening classes in Art and to study the work of great masters, especially Rembrandt and Velazquez.. Although he never learnt to paint, he did learn about lighting, design and composition. At the public library in Boston he became a voracious reader in the humanities and began to appreciate the greater dimensions of photography.
He had originally been sent to Boston for 3 months, this turned into 3 years. In Garos studio he learned many of the technical processes used by photographic artists of that time. Learning these processes made him strive for perfection.
Garo taught him more than techniques alone, he taught him to see, and remember what he saw. "understand clearly what you are seeking to achieve" "and when its there record it, Art is never fortuitous".
Garos' health worsened and he died in 1939. At this time Yousuf was struggling with his first independent studio in Ottowa. He had left Boston in 1931 to return to Canada.
It is rarely possible to repay directly those who have rendered us great personal kindnesses. But is also futile to rationalise and say that the time for sacrifice, to repay just moral debts, is past - for I do not believe this time ever passes. Nature does not often collaborate with men to permit simple repayment, whether the debt is from son to father, soldier to comrade, pupil to master. We may never be able to repay directly for the gifts of true friendships - but pay we must, even though we make our payment to someone who owes us nothing, in some other place and at some other time.....
Yousuf Karsh once in Ottowa, was fortunate to meet B K Sandwell the editor of a prestigious periodical, Saturday Night. His photographs were reproduced for the first time in his magazine.
Yousuf had few friends in Ottowa during the early days and welcomed an invitation to join the Ottowa Little Theatre, an enthusiastic group of amateur players. The casual invitation was to have lasting effects on his life and career. The experience of photographing actors on stage with stage lighting was exhilarating. The unlimited possibilities of artificial light where overwhelming.
Working with daylight in Garos' studio they often had to wait, often hours, for the light to be right. in this new situation he found himself in instructions were given by a director - he commanded the lighting to do as he wished - creating moods, selecting, modifying, intensifying - a new world was opened to Yousuf.
Lord Duncannon from the theatre group persuaded his parents to sit for photos and after a few poor attempts he finally produced excellent pictures, eventually being printed in newspapers across Canada.
Yousuf Karsh also met his wife Solange Gauthier at the theatre group. She was a great source of encouragement and inspiration. Solange shared her knowledge of music, literature and drama with Yousuf, who had missed out on this learning in his younger years. When she died in 1960 he made an award to present for the best One-Act-Play in Canada.
In 1936, Franklin Delano Roosevelt was the first American president to make an official visit to Canada. Yousuf was invited to take his picture and this resulted to be his first foray into photojournalism - it was also his first meeting with Prime minister Mackenzie King, he in time became a friend and patron. Prime Minister King made it possible for Yousuf to photograph Winston Churchill in Ottowa in December 1941. The worlds reception of this photograph changed his life.
In 1943 he sailed to England. In wartime London, Yousuf photogrphed one personality after another - George Bernard Shaw, the Arch Bishop of Canterbury and the royal family. It was in London where he started to do 'his homework', regarding the person he was photographing. Finding out as much about the person before her photographed them. He returned to Ottowa with his international portfolio.
Anywhere he set up his lights would become his studio. Photography took him to many fascinating parts of the world.
After the war his parents and family joined him in Canada. He met his second wife whilst photographing her boss. Estrellia Nachbar was a gifted medical writer and historian, they married in 1962.
As a medical contribution he began to photograph, The National Poster - Children of the Muscular Dystrophy Association.
After 60 years, in June 1992, he closed his studio in Ottowa - over the years he had a number of graduates who he taught just as Garo had taught him.
In 1997 he and Estrellia relocated to Boston.
Yousuf Karsh had an endless fascination for people - what he calls their inward power. It is part of the elusive secret that lies in everyone, he says "it has been his lifes work to capture it on film. The mask we present to others and too often ourselves, may lift for only a second - to reveal that power in an unconscious gesture, a raised eyebrow, a surprised response, a moment of repose. This is the moment to record.
The search for greatness of spirit has compelled him to work harder and strive for perfection - knowing it to be unobtainable. His quest has bought him joy when something close to his ideal has been attained . It has kept him young at heart and adventurous, forever seeking, and always aware that the heart and mind are the true lens of the camera.
HIs own professed intentions in his portrait photography were - 'to stir the emotions of the viewer and to lay bare the soul' of his sitter.
Here are a couple of photograph I have chosen ... Firstly his picture of Winston Churchill.
1941 WINSTON CHURCHILL
This is classic beauty, she is relaxed and elegant. Her dark hair and clothes against the light background. Her face is gently lit with no harsh shadows. The angle of the pose makes it a little different, her eyes looking down.
1963 ESTRELLIA - YOUSUFS WIFE
This is one of my favourites.. Estrellia has quite strong features and this is a profile picture again both elegant and classic but beautiful too.. its lovely to take pictures of those you love.
She looks happy to have her photograph taken, she must have been pleased with the result.
This photo really interested me, as I learnt a lot reading about light and reflections, and before that reading I would have looked at this picture completely differently.
1957 Earnest Hemmingway
This is a 'comfy' picture, just like the jumper he is wearing, his face well lit with focus on the eyes, he looks a gentle shy man, with a rugged, bearded face. I love looking at this picture.
1938 YOUSUF KARSH
This is probably my least favourite picture. This is a self portrait of Yousuf, to me it seems all out of proportion - I know thats probably the intention - but this isnt one of those pictures I enjoy.. however I saw another of his self portraits which was him in a garden with his camera and the photo was a reflection in a garden glass bowl. It was really interesting and a bit different and a contrast to the one above !
___________________________________________________________________________________________
FURGUS GREER
Here I have three pictures taken from The World's Top Photographers, by Fergus Greer . The first - which I love - is of Princess Margaret, taken by Lord Snowdon. Its truly beautiful.
This second one just brings a smile to my face. The photo says it all. Im a Tommy Cooper fan and here he is in his silly hat and face, but is dressed smartly in his suit and tie. He looks like he is about to do something stupid, and probably did.
It was taken by Lord Lichfield.... as Lord Lichfield says in this book... you can tell he is a comedian !!
And lastly something a bit different but very eye catching, or it appeals to me. This picture is by Isabel Snyder, on first looking at it I thought the model was wearing stripy tights, she actually is naked and it is the shadows of the fence (which may not have scanned in properly - but its there to the right ) .... bit cheeky.
I have a book called Vanity Fair Portraits, by Graydon Carter. Its a very large book full to the brim with beautiful portraits. Some I'm not so keen on and others are definitely my sort of photograph.
This picture above is one I like very much...The Redgraves by Annie Libovitz, the women altogether of different generations, its relaxed and beautiful, showing how important they all are to each other, mirroring your own family relationships.
Another one I like is of Princess Caroline of Monaco with her children - they are all looking out to sea - she is in a beautiful blue ballgown and tiara, holding the youngest child. you cant see any of their faces so maybe is not an official portrait ?!
Even so its a lovely picture.
I do prefer the formal, dark, (maybe black and white) portraits and I like a few wrinkles... that always make a face interesting
Clint Eastwood by Herb Ritts 1989 ..... I love this
I sometimes have difficulty with some of the more quirky shots, I like them for what they are, but maybe wouldn't be for me. However I wouldn't rule out anything...
This picture caught my eye for being not what I would call a self portrait, this was taken by David Hockney and was the cover for Vanity Fair in June 1983.
