Here is another photograph of a young woman – this time one that has become surrounded by conflicting commentary. There are those who see it as an example of female empowerment and, more recently, those who see it as an example of male harassment. Either way, it seems to have been accepted by all as an impromptu shot of a fleeting street scene. Yet - is all what it seems, I wonder?
It is entitled American Girl in Florence and was taken by Ruth Orkin in 1951. The subject is fellow American Ninalee Craig then on a solo tour of Europe. The two women met in a hotel in Florence and the photographer suggested they do a photoshoot the next day. Orkin was hoping to get a shot into the Herald Tribune for $15. It was turned down in the event but published the following year in Cosmopolitan to help illustrate an article about how to travel safely alone.
You can see all the results of the day’s shooting on this contact sheet. It shows that there were in fact two shots of this scene and that was confirmed by Craig in an interview a few years ago. “She [ie Orkin] walked about 30 paces ahead of me and at one point turned around to see this scene in the Piazza della Repubblica; she liked what she saw and took a picture……” And indeed, if you look at the first picture on the contact sheet, you can see that it was taken at a different angle and shows the whole street behind Ninalee. You can also see some of the same figures as in the second shot – the guys on the motor scooter on the right and possibly the figure furthest to the left.
Ninalee goes on in the interview to say: “…..She asked me to turn back and do it one more time and took another, and that was it, two pictures…..I think that’s the reason the picture has endured – it was not staged.”
Not staged? But it very definitely is staged, as all the shots of that day were staged. Ruth has asked Ninalee to turn round and make the pass again and this time she positions herself more to the right (presumably in the middle of the road) so that the shot is of the corner. Here comes Ninalee then, striding along the pavement for the second time. She says in the interview that she felt “very comfortable in my own skin”. She doesn’t really look it – and Ruth Orkin is on record as saying that she looked very nervous on the first shot. But how many of us would look perfectly natural in front of the camera in these circumstances?
Now – look carefully at the photograph then shut your eyes for a moment. How many of the fifteen men in the shot are actually looking at Ninalee? In fact, not many if you look at the crop below.
Of all the ten guys behind her, most seem actually to be looking directly at us. The scooterist is certainly looking at her but the pillion isn’t (more of him in a minute). Of all those others behind her it is only the chap in short sleeves directly behind the scooterists who is glancing her way. None of the others are. Who are they looking at then? Exactly – they are looking at the photographer.
The three leftmost figures in front of her (in the full picture) are certainly looking at Ninalee but they don’t have a lot of choice because she is walking right in front of them. They seem almost to be making room for her to pass. The guy sitting down seems to be looking at the scooterist. It is the signor clutching his crown jewels who is really the star of the male show, acting it up like there’s no tomorrow, with a comment thrown in too, by the look of it. Everyone seems to me to be well aware of what is going on and taking an interest in it. You might even say that it is a good example of how the simple presence of a camera can change everything. So, really, this is not a candid street shot. It’s more like a bit of street theatre. The centre of interest is just as much the photographer as Ninalee.
So: female confidence or male leering? You can make your own choice. It is worth looking at the rest of the contact sheet though. In the next few frames, Signor Pillion makes way and Ninalee takes a sidesaddle spin with scooter guy round the square. You can see the results on the same link as the contact sheet above. They look pretty stilted to me but they did help me finally make up my mind about the photo. Principally, it is a visual event - a lovely balance of tone, form, expression and movement. I see no need to conceptualise it - but if I were to then it would be more in the sense of Americans and Europeans and how the picture came to be taken.