Griffin News

The Cover of Life

In photography, we often refer back to Henri Cartier Bresson’s introduction of capturing the “Decisive Moment.” What constitutes this perfect moment in time…is it purely aesthetic or is it defined by the emotional impact of the image?

Arthur Griffin’s Quincy Quarry taken in 1938 was featured on the cover of LIFE Magazine in August of that year. The image takes on an unfamiliar perspective; the viewer is only able to see the area of departure of these divers without clues to where they may be landing. For a Massachusetts native, this image may not be jarring but imagine the young child who picked up this issue of LIFE in another part of the country and had so many questions about where those men would touch down.

Griffin captured the divers at an opportune moment, highlighting the point of departure and leaving room for the imagination to map out their trajectories. The presence of shadow against the rock quarry wall and the two men’s arms reaching out to the edge of the frame constituted this image to be selected for the cover of the issue. The bounds of the rectangle tightly hug in the action of the jumpers, freezing this exciting moment in time for us to experience almost 76 years later.

Ignacy Paderewski

Igor Paderwski at the pianocopyright Arthur Griffin. Courtesy of the Griffin Museum of Photography

Igor Paderwski copyright Arthur Griffin. Courtesy of the Griffin Museum of Photography

In his introduction to Arthur Griffin’s book “New England in Focus”, writer John Updike referred to his friend Arthur’s “friendly fury” that “rendered him ageless…” Here to me is an image by Arthur Griffin that really speaks to this energy that Updike makes reference. Taken on May 11, 1939 at the Boston Opera House, this image is of the great pianist Ignacy Paderewski.

This image makes an IMPRINT as we realize the photograph was taken in dim lighting, with very slow black and white 35mm film and the audience is on the stage with the subject. Needless to say it was a very challenging photograph to articulate.

But how did Arthur shoot this image with so very little light? He held the program for the concert in front of his lens, then opened the shutter and left it open. When he thought Mr. Paderewski’s head might be still, he removed the program. When the pianist moved his head again, Arthur put the program back in front of the lens building up exposure. He used the stage curtain to determine when the pianist’s head returned to the original position. Arthur repeated this procedure through 2 rolls of film. Out of 72 tries, two images were usable, although hints of movement are present.

Despite the difficulties it took to render this photograph, it appeared on the front page of “The Globe” right after the performance and appeared again at the time of Paderewski’s death in the rotogravure section of “The Globe” in 1941.

If you are interested in learning more about this image or its availability please contact us.