Even if one has not heard Steve McCurry’s name, it is likely his most famous photograph will be familiar – ‘Afghan Girl’, as it became known. Taken for National Geographic at a refugee camp in Pakistan in 1984, it features Sharbat Gula with her piercing green eyes staring at the camera. It has become one of the most iconic photographs of all time as well as the magazine’s best-known cover (June 1985), symbolising the suffering of the Afghan people, and particularly its women. To acknowledge its fame, it takes pride of place on the cover of McCurry’s 1999 book Portraits, with a less-familiar picture of her playfully hiding the lower part of her face on the back.
She is accompanied by many more portraits taken around the world, though few in Europe. They have an air of spontaneity, the sense that as McCurry wandered along, he would see interesting faces projecting character and ask them to pose for him. There are several famous subjects, but these are treated precisely the same as all the other individuals photographed, with no effort to note who they are. He is particularly good with children, and he likes faces that are decorated in some way. There is an intimacy to the portraits suggesting it would be pleasant to sit down for a chat; the short introduction by McCurry does refer to the portraits speaking of ‘a desire for human connection.’
My major complaint, apart from the small format of the book, a surprise coming from Phaidon, is that there is so little contextual information. The introduction isn’t particularly informative, and captions are confined to the date and place the photograph was taken. We learn nothing about those pictured, which does them a disservice. Some are quirky, and a description would be useful – why, for example, is the man covered in what looks like gold paint smoking four cigarettes simultaneously? What is the large object sitting on a man’s head in Sri Lanka? There is no obvious organisation, and the photographs jump from place to place and back and forward in time. As the period they were made in recedes, it will become increasingly difficult to work out what was happening when McCurry was in a particular country, and why he was there.
As an indication of the iconic status of ‘Afghan Girl’, Simon Hill, Royal Photographic Society president, used it as his example when he tackled the issue of artificial intelligence in the May/June 2023 RPS magazine. He used a text-to-image app, and of all the pictures he could have chosen he recreated McCurry’s photograph. He wrote fewer than 50 words and the app took less than a minute to generate the result. Comparing the two versions, in one sense the similarity to Sharbat Gula’s portrait is immediately obvious: a woman with piercing eyes (bluer than Gula’s) wearing a red scarf with her dark hair showing, standing in front of a blue background and looking directly into the camera. But the differences show what a great photograph McCurry has made.
Leaving aside such minor details as the positioning (the AI subject is standing square whereas Gula is standing at an angle, the blue background is clearer, taking the form of horizontal planks, whereas McCurry’s background is less defined but with vertical marks), the AI version is smooth, with none of Gula’s experiences etched on her face. The program has raided the corpus of western classical painting, giving the AI subject an Italian look. Her hair is groomed and neatly parted, contrasting with Gula’s unkempt look, her skin is unblemished and looked after, not that of someone who has been living in a dusty refugee camp. The lighting mimics a style that is artfully posed, McCurry’s photograph possesses a directness suggesting he was working quickly with what he had to hand.
But the most distinctive difference is the quality of the scarf. Gula’s is worn, holey, and her blue tunic shows through the ragged tears. It, like its owner, has seen much. The AI version by contrast is glossy, new-looking and elegant. Its colour is richly saturated rather than faded by exposure to the sun, washing and hard living, a fashion statement rather than a symbol of deprivation. Not knowing this is someone who never lived, one would have to agree the AI has produced a face which looks physically attractive, but would not consider her to have displayed resilience in difficult circumstances, the point of McCurry’s portrait. The AI may have, to an extent, replicated the surface of the original, but it did not reproduce the depth. That is entirely down to the interaction between Gula and McCurry.
Reference
Simon Hill, ‘Voicebox: Facing up to a Brave New World’, Journal of the Royal Photographic Society, Vol. 163, No. 3, May/June 2023, p. 331.