Essay: "Frank Hurley: The Man Who Made History" by Simon Nasht

Simon Nasht’s Frank Hurley: The Man Who Made History (2004) creates a discussion around the ethical and moral nature of Hurley’s work through its rediscovery made by the modern audience. Nasht questions the true role of photography, presenting two sides; one that photography is meant to be historic and a realistic snapshot of the subject and the other with a more artistic and emotional representation of the subject. Nasht presents the negative view towards Hurley’s work through the use of experts – which add to the arguments credibility – whom criticise Hurley’s photographs as “elaborate concoctions” rather than presenting the ‘real’ images that was necessary of a photographer and describe him as “a showman, a performer”. The description of his photographs reveal a perspective that his photos are overemphasised and exaggerated,  whilst also highlighting, through negative connotations of magic and fabrication, that there is a lack of realism in his work. Nasht further emphasises this negative view through the narrator who constantly causes the audience to question the true value of Hurley’s work. She comments on the auction of his photographs stating “but is it possible they are buying a grand illusion?” The question, through the use of undertones of fakery, suggests that it is possible that the photographs are not what they seem and are not the value that they are priced that. The combination of both these negative views paints a disheartening perspective for the audience as they rediscover his work.

However, Nasht’s contrasts this view by presenting a juxtaposing opinion from a university professor who comments “I think he was an absolute master of the medium”. The use of the university background shot provides a sense of authority and credibility and the alliteration is used to raise the issue of the role of the medium of photography. Nasht’s balances the negative views through the narrator who comments “Today the experts are divided. Was he a giant of photography or a conjurer with a camera?” The metaphor paints two juxtaposing images which are used by Nasht to allow the audience to rediscover the role of photography. Nasht emphasises this aspect of discovery through the readings of Hurley’s journal, where Hurley not only discovers the role of photography but his purpose in society “I knew I found my real work…the key that would perhaps unlock the undiscovered world.” Nasht suggests, through the metaphor, that Hurley’s photographs are potentially truer representations of the unknown than a pure picture, emphasising that perhaps photography is supposed to provide a perspective that creates catharsis rather than just documentation. Nasht, hence, by presenting both views towards Hurley’s work, creates a discussion in which the audience, through their discovery of Hurley’s work and rediscovery of the photographic medium, question the true role of photos and the value of his composites.

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