Reality vs. Virtual Reality.
In the mid-1960s, I quit taking photographs for publication for my employer, US News & World Report, in addition to my writing. With my trusty little 35mm Leica body and Nikor lenses, I had blossomed from a rank amateur to become quite proficient. There were even battlefield pictures although I was not, as we said then, a bang-bang reporter. I was doing more overall reporting and analysis of a complicated political as well as military war in Vietnam and still nominally covering the rest of South and Southeast Asia.
I quit for several reasons. I found that I was beginning to look at everything around me through an imaginary camera rangefinder, even before I put it to my eye. Just as I early in my reporting career had decided that voluminous notes were an impediment to writing a good story important elements of the story would go in one ear and into my writing fingers and forgotten not to be adequately reconstructed from what was supposed to be a record. But if I listened carefully [and took down figures], I was more apt to get the essential significance and even the most important of the details of the story I was trying to follow and to write. That now seemed to be what was happening with my camera: I was losing the overall perspective on the scene I was observing with my attention drawn to how to record it with the camera..
There was another reason, as well. I found that nothing lied as much as a photograph, even perhaps more than words. Photographs are, after all, a minisecond of history of the scene presented. [Its why I have always wondered if photography really is an art form; isnt most of the best of photography accidental? When the new machine driven lenses with rapid shutter speeds came into mode, we joked that now Margaret Bourke White would bankrupt Time, Inc., with her film costs. She had already been noted as pointing her camera in a direction and taking photographs as fast as possible, eventually selecting one she thought better represented the scene.]
An iconic Madonna-like photo I took of a tribal mother in Laos with her child and the mist floating in behind her head was magnificent. [It was later included in a photographic insert in my book, A Sense of Asia, Chas. Scribner & Sons, 1969]. In fact, what the photograph camouflaged was the deplorable situation in that village including my Madonna figures surroundings its lack of sanitation and food, the high prevalence of tuberculosis and other diseases, and frequent murderous attacks by the Vietnamese Communists.
