In September of 1957, The Washington Daily News sent William C. Beall to cover the Chinese Merchants Association parade in Chinatown, Washington DC. Little did this young reporter/photographer know that while on this seemingly mundane assignment he would capture a priceless moment on camera, leading him to win the Pulitzer Prize for photography in the following year. This type of project was becoming more and more common with the rise of street photography and reporting due to the decreased size of cameras. Because of this new technology, reporters were able to take candid shots on the street; Faith and Confidence is the epitome of candid photography, visually representing a look of “childhood innocence” through this encounter between two-year-old Allen Weaver and police officer Maurice Cullinane.
I found it interesting that this photo is in black and white, despite the newly invented technology of the time allowing for color photographs. However, color was considered somewhat tacky and unprofessional at this point, appearing mainly in advertising. In this case, the lack of color works well with the message of this photo. It illustrates a level of simplicity, forever branding this image as part of the “happy days” era of the ’50s. The viewer can easily guess during what time period this photo was taken.
Despite being in black and white, this is not a poor quality image (as one could probably guess, considering that it is a Pulitzer Prize winner). There is a strong contrast of values, with both true black and white values present in the photo, not just a narrow range of greys. Interestingly, this literal contrast of the photo is actually a metaphor for the historical occurrences of the time. Although this picture depicts a friendly encounter between a policeman and a child, such was not always the case with public authority, especially with regards to the black community. Black children in the South faced cruelty and violence, such as the Little Rock Nine, who were the first nine black students to be integrated into the Little Rock High School. If one would see the photos of the treatment of these children in the year 1957, one would have a much different idea about childhood than “innocence”.
In addition to strong social and historical value, Beall’s prize-winning photo includes many positive visual elements within its composition that add to its impact. For example, the exposure is bright, drawing attention to the setting: a midday parade in the nation’s capital. This adds to the overall positive tone of the piece, as does the contrast of values and lack of color. Instead of causing the viewer to see this photograph as bland or lackluster, I believe the absence of color actually operates to draw the viewer’s focus to the emotion seen on both the face of the young boy and the officer.
Although Beall employs tone, color (or lack thereof), contrast, exposure, and other photography principles phenomenally to achieve this award-winning photograph, the most crucial element is obviously the subject. He focuses on the relationship between the boy and the police officer. The position of Cullinane’s body breaks down the hierarchy between child and authority figure; he has brought himself down to the same level of the child. Framed perfectly by the slightly out-of-focus lines of bystanders watching the parade in the background, Weaver and Cullinane are set apart from the crowd, engaging in this precious but fleeting moment of connection.
