The photographer who took the iconic photo of Barack Obama reused by Shepard Fairey in his poster also has another famous image to his credit
Mr. Garcia has taken at least one other influential image of a president while working as a wire-service photographer. Only months before photographing Mr. Obama, he was with George W. Bush on Air Force One for Reuters, as Mr. Bush stared out at the wreckage caused by Hurricane Katrina, his face lighted by the window’s glow.
That photograph was instantly criticized by some as being propaganda, Mr. Garcia recalled in an interview, because it seemed to depict a president in control and concerned by the post-Katrina suffering. Yet a year later, the same photograph was considered emblematic of exactly the opposite: a president out of touch and unmoved by the people’s suffering — Mr. Bush was looking down on New Orleans, rather than stopping personally to inspect.
Photographs like that one of Mr. Bush, Mr. Sante said, remind him of the photographer as a “highly trained archer, shooting too fast for thought, reliant on instinct and habit to guide him to the bull’s-eye while the target shifts continually.”
Instinct and habit in this case are employing implicit learning, are governed by subcortical structures like the basal ganglia, rather than prefrontal regions invovled in complex thought. Yet consider this:
James Danziger, whose gallery is selling the Obama print, including one to the Museum of Fine Arts of Houston, led the effort to discover the original photograph that Mr. Fairey used. Mr. Danziger said that he was not afraid to use the word “art” to describe what Mr. Garcia had created.
“There isn’t a random, automaton quality or motivation to what he does,” said Mr. Danziger, who has held various editorial positions at The Times of London and Vanity Fair magazine, and who now runs the gallery. “The difference between snapshooter and professional photographer is that there are hundreds of decisions to make.”
“The tightness of the framing, the angle and expression that he caught, the decision to have Obama’s face sharp and the American flag out of focus are major decisions,” he continued, “and the greatest test of the effectiveness of the photograph is the response that the photograph gets.”
The use of the word “decision” here is misleading. Garcia took 1000 photos the day of the Obama photo, and this one came out. He relied on his trained intuition. He did not compose this one particular shot, but it is certainly the case that all the decisions he made all along the way of his career contributed to getting this one right.