A tribute to Yousuf Karsh

PSA Journal, July, 2004 by O.P. Sharma

Yousuf Karsh was a self-made man a very kind-hearted modest and noble man. He was a man who had nothing but with his very hard work, utmost sincerity and honesty, carved a unique place in the history of photography, in the world of photographic art and in the field of photographic portraiture. Karsh was a camera artist highly sought after by famous personalities of the world in different fields. He was a man who revealed the true personality most authentically of those who faced his camera. Yousuf Karsh was a master in the field of photographic portraiture the greatest portraitist who gave new thinking and new direction to photographic portraiture. He has the largest and the most valuable collection of immortal portraits of outstanding men and women born during the past hundred years or more.

This is the story of the great YOUSUF KARSH who made "Portraits of Greatness." Portraits by Karsh are truly great, truly artistic and of the highest aesthetic and technical excellence. Portraiture is the first subject in which photography played an important role and continues to do so today. Though many earlier camera artists such as Daguerre, Regilander. Robinson, DO Hill, Julia Margaret Cameron, Desdeni, Nadar, Fanton, Coburn and others made a name lot themselves in the field of photographic portraiture, the work of Karsh is totally different than anyone else's work of the past or present.

The art of painting is much older than photography, and when we think of painted portraits, our minds likely think of the undisputed king of the painted portrait--Rembrandt, born in 1636. Rembrandt achieved an extraordinary quality in his portraits. His character emerges from the dark very mysteriously and grips the knowledgeable viewer leaving a lasting impression on the soul and mind. This haunting quality was achieved by skillfully using minimum possible highlights. The background, which enriches the portraits; the composition, which makes them forceful and creates an impact; and the expression on the face, very imaginatively palmed reveal the true personality of the sitter. Photographic portraits made by Karsh have similar extraordinary qualities. As Rembrandt is the undisputed king among portrait artists, so is Karsh a king of photographic portraiture. The earlier portraits by Karsh were very "un-Karsh-like," but for nearly 60 years he created a style which is unique in every respect. Karsh has overshadowed the past, present and maybe the future, with the time he has spent travelling to make portraits.

Karsh brought stark realism to studio portraiture in more than one way. Skin texture; color in terms of black, white and gray; use of hands; and photographing the "inner self" of the sitter, presenting the complete personality without distortion--these were hallmarks of this great wizard. No other portraitist has achieved this distinction. Innumerable photographers have tried to copy his style but were able to do so only superficially. The touch of genius and inner communication that he had with the sitter was unique and is reflected in over 3500 immortal portraits of the most well-known personalities of the 20th century and even the not so well-known.

Born in Mardin (a prominent town in Turkey) on December 23, 1908, of Armenian parents, his father was Roman Catholic and mother a protestant. Young Yousuf Karsh grew up in Armenia among the horrors of the massacres. In 1925, his mother sent him to Canada to live with his uncle Naksh. His uncle was a photographer with an established reputation in Sherbrook. Karsh never had any formal education, but soon after reaching Canada he started working in his uncle's studio. He was 16 when his uncle noted his avid interest in photography and sent him to Boston to work with a master portraitist of the time, John H.Garo. Garo was unsurpassed in his field and made portraits which were considered classics. Karsh planned to study with Garo for six months, but his passionate interest in photography and his talent compelled Garo to teach him a full three years. During this period, Karsh did his best to absorb all the wisdom of his master and tap his enormous knowledge of portraiture. Garo always encouraged independent thinking, free expression and absolute honesty. Karsh was taught the artistic understanding of composition and a clear appreciation for the use of light and shade.

After completing his training, Karsh joined Powis Studio in Ottawa from the summer of 1932, but soon thereafter Powis closed his business and the landlord leased the studio to Karsh. Thus the Karsh Studio was born. By the year 1939, Karsh established himself as one of the foremost portraitists. Lord Bessborough, Governor General of Canada and his son Lord Duncannon, Lord William Mackenzie King, the Prime Minister of Canada, as well as the celebrated editor of Saturday Night, B.K. Sandwell, recognized Karsh's talent and gave him their full support and encouragement. As soon as the portraits of Lord and Lady Bessborough appeared on the front page of Saturday Night, the prestige of Yousuf Karsh started spreading. Soon thereafter, Karsh undertook every kind of commercial assignment including passport photos. During World War II, he never declined to photograph any man or woman in uniform going overseas, whether they paid him or not. On 30th December 1941, Sir Winston Churchill visited Washington to deliver his memorable address to the American Senate. From there he decided to visit Ottawa also. As soon as Karsh came to know of this, he phoned Walter Turnbull (aide to the Prime Minister) for help to make a portrait of Churchill. The reply from Turnbull was unbelievable when he was informed, "Karsh, you will be pleased to know that we were talking about that ... we were hoping to put ten minutes aside for this purpose." Prime Minister King himself came on the line and said "I suggest you come and discuss it, right away." A sitting was arranged without telling Churchill. Very begrudgingly, Churchill walked up to his place, but he would not dispose of his freshly lit cigar. Karsh went back to the camera to make sure that the lighting, composition, the attitude was all right, except for the cigar! So Karsh stepped towards Churchill and said, "Forgive me, sir" and then went on to lightly pluck the cigar out of Churchill's mouth, but ever so respectfully and without a hint of feeling that he would mind it. Karsh said. "I removed Churchill's cigar because I felt it did not belong on that occasion. Not during that high moment of history." By the time Karsh got back to his camera, Churchill was looking belligerent and at that moment, the picture was shot. There was complete silence for a while. No one has a word to say, not even the Prime Minister, Mackenzie King. But Churchill walked up to Karsh, shook his hands and said, "You can even make a roaring lion stand still to be photographed." The entire front page of the Saturday Night carried the portrait, and B.K. Sandwell wrote to Karsh "You are certainly a marvel."