Great article. I think the credit issue is an interesting one - and I'm not sure it is down to fame (while the upcoming movie will likely change this, Lee was barely known for decades after the war whereas David Scherman had a very strong reputation). I think it flows both ways - Lee herself was not at all credited for a lot of work she clearly contributed to, particularly with Man Ray. I'd be surprised if Lee wasn't intimately involved in the whole concept and set-up of the bathtub photo - it bears many of the subversive qualities of her war and surrealist photography. A lot of photographs are ultimately collaborations, so I'm not sure it's incorrect to co-credit them.
It is not an "interesting" issue, it's an irritating one. Lee has gotten lots of credit for her work with Ray, eg. her accidental discovery of the solarization process. What's the other uncredited pre-war work you mention?
Lee's son, Tony, has always agreed that Dave took the bathtub picture. (If you want Tony Penrose's email address, I'm happy to give it to you. Dave was a smart guy and a top-notch photojournalist, who invented the concept of what he called "made-up", ie. staged, photograph. It was accepted LIFE Magazine practice, which doesn't legitimize it. It's also a fact that they freely shared their Rolleiflexes. My father always said that any number of pictures credited to Lee were taken by him. Lee was a good photographer. I know nothing about her character or personality (I don't doubt her courage). I met her once. I was perhaps 7 or 8. She and my father were estranged for many years; apparently, they made up. I wasn't there.
I don't think anyone is disagreeing that Dave took the photo (and I've briefly met Tony and his daughter myself). But as I understand they had a strong creative partnership, which meant that credit was often shared or exchanged - indeed that some of "her" photos sometimes also appeared under his name (at least according to her biographer). It depended on the photo and each bringing something very different to the table. At least some of the staging of the bathtub photo seems to be Lee's - she had previously put Hitler photos in works, and the Venus statue harked back to her modelling career and seems to be her touch. Overall, I love both of their work and value anything that brings their names into broader focus - but yes I can understand that the credit issue must be very difficult.
Interesting that you say that. The "official" photo has always kinda bugged me purely because Lee doesn't come off in it as the strikingly beautiful woman she was. I only half-realized that I had the other snap lying around, and made use of it. Contact the Lee Miller Archive; they have a website. Co-directors: Tony Penrose and Ami Bougassane, Lee's son and granddaughter respectively
I have not seen your choice of photographs of Lee in the tub before. It is a much better choice, I think. It favors her more and the mood is more subdued as her gaze seems to be elsewhere as one would only expect after a day seeing the horrors of Dachau. Sad that your father is often relegated to a footnote in this story. Thanks for this.
Not a problem
Great article. I think the credit issue is an interesting one - and I'm not sure it is down to fame (while the upcoming movie will likely change this, Lee was barely known for decades after the war whereas David Scherman had a very strong reputation). I think it flows both ways - Lee herself was not at all credited for a lot of work she clearly contributed to, particularly with Man Ray. I'd be surprised if Lee wasn't intimately involved in the whole concept and set-up of the bathtub photo - it bears many of the subversive qualities of her war and surrealist photography. A lot of photographs are ultimately collaborations, so I'm not sure it's incorrect to co-credit them.
It is not an "interesting" issue, it's an irritating one. Lee has gotten lots of credit for her work with Ray, eg. her accidental discovery of the solarization process. What's the other uncredited pre-war work you mention?
Lee's son, Tony, has always agreed that Dave took the bathtub picture. (If you want Tony Penrose's email address, I'm happy to give it to you. Dave was a smart guy and a top-notch photojournalist, who invented the concept of what he called "made-up", ie. staged, photograph. It was accepted LIFE Magazine practice, which doesn't legitimize it. It's also a fact that they freely shared their Rolleiflexes. My father always said that any number of pictures credited to Lee were taken by him. Lee was a good photographer. I know nothing about her character or personality (I don't doubt her courage). I met her once. I was perhaps 7 or 8. She and my father were estranged for many years; apparently, they made up. I wasn't there.
I don't think anyone is disagreeing that Dave took the photo (and I've briefly met Tony and his daughter myself). But as I understand they had a strong creative partnership, which meant that credit was often shared or exchanged - indeed that some of "her" photos sometimes also appeared under his name (at least according to her biographer). It depended on the photo and each bringing something very different to the table. At least some of the staging of the bathtub photo seems to be Lee's - she had previously put Hitler photos in works, and the Venus statue harked back to her modelling career and seems to be her touch. Overall, I love both of their work and value anything that brings their names into broader focus - but yes I can understand that the credit issue must be very difficult.
Interesting that you say that. The "official" photo has always kinda bugged me purely because Lee doesn't come off in it as the strikingly beautiful woman she was. I only half-realized that I had the other snap lying around, and made use of it. Contact the Lee Miller Archive; they have a website. Co-directors: Tony Penrose and Ami Bougassane, Lee's son and granddaughter respectively
I have not seen your choice of photographs of Lee in the tub before. It is a much better choice, I think. It favors her more and the mood is more subdued as her gaze seems to be elsewhere as one would only expect after a day seeing the horrors of Dachau. Sad that your father is often relegated to a footnote in this story. Thanks for this.