PHOTOGRAPHY WARM and COOL Photojournalism and Street
Photography
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WARM Photojournalism developed in Germany and France during the
1920s. The new small cameras such as the 35mm Leica made possible
instant photography on the street. French photography was about
people in everyday life. Robert Doisneau Andre Kertesz Henri
Cartier-Bresson
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ROBERT DOISNEAU Robert Doisneau was a French photographer who
specialized in the street, always looking for humour and charm in
French daily life. The marvels of daily life are so exciting; no
movie director can arrange the unexpected things that you find in
the street. Robert Doisneau, Rue du Docteur Lecne, Paris 1934
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Photographs about the act of looking
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ANDR KERTESZ Andr Kertesz was a Hungarian photographer who
worked in France and the US. He helped develop the new genre of
magazine photojournalism, creating warm, humorous images of
everyday life. I photographed real lifenot the way it was, but the
way I felt it. This is the most important thing: not analyzing, but
feeling. Andr Kertesz, Circus in Budapest, 1920
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A street scene in Paris showing the famous Dubonnet posters by
AM Cassandre. A study in hats Note the gender comment in the
George/ Georgette sign linking the man and woman in the picture.
Andr Kertesz, On the boulevard 1934
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Andre Kertesz, Mrs Blanche Montel at the wheel of her new BMC,
1928 Kertesz was a working photojournalist, publishing his
photographs in the new picture magazines.
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VU, the weekly picture magazine
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His most famous photograph was taken in the studio of a
sculptor. Dancer Magda Frstner playfully poses like the sculpture.
Andr Kertesz, Satiric Dancer 1926
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His most famous photograph was taken in the studio of a
sculptor. Dancer Magda Frstner playfully poses like the sculpture.
This vintage print was sold at Christies auction in 2008 for
$448,000
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HENRI CARTIER-BRESSON Cartier-Bresson is the most famous
photojournalist. He worked internationally for 50 years and helped
set up the Magnum photo agency. His best photographs combine
documentary content with precise timing and beautiful
compositions.
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Henri Cartier-Bresson
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Henri Cartier-Bresson, Sunday on the banks of the River Marne,
1938
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Henri Cartier-Bresson
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Henri Cartier-Bresson, Russia 1955
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Henri Cartier-Bresson, Life Magazine cover, 1955 Military
appraisal at Russian trolley stop
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Henri Cartier-Bresson, Simigne-la-Rotonde, 1969
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THE DECISIVE MOMENT The decisive moment is the simultaneous
recognition, in a fraction of a second, of the significance of an
event as well as the precise organization of forms which gives that
event its proper expression. Henri Cartier-Bresson Behind the Gare
St Lazare, Paris, 1932
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THE DECISIVE MOMENT There is a creative fraction of a second
when you are taking a picture. Your eye must see a composition or
an expression that life itself offers you, and you must know with
intuition when to click the camera. That is the moment the
photographer is creative. Henri Cartier-Bresson Behind the Gare St
Lazare, Paris, 1932
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Closing the gap between the shoes and its reflection defeats
the point of the photograph, which is the suspension of time.
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Henri Cartier-Bresson Behind the Gare St Lazare, Paris,
1932
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Cartier-Bresson preferred to judge pictures by looking at them
upside-down. He always turned them all around and upside-down. It
became like a sort of dance. Strangely, he didnt want to look at
the picture. Ren Burri
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Henri Cartier-Bresson, negative The actual negative from
1932
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Henri Cartier-Bresson, negative Inverted to show cropping of
the negative
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Where the photograph was taken. Google Street View
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The Family of Man This warm-hearted photography was promoted in
the Family of Man exhibition and book in 1955. It was shown around
the world for several years and is still the most successful
photography exhibition ever.
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COOL In the 1950s and 60s a new approach to photographing the
social landscape in America. It had an element of cynicism. These
photographers had an offbeat approach to composition and
subject.
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ROBERT FRANK The Americans, 1958 In 1955 Robert Frank was
awarded a Guggenheim Fellowship to drive through the United States
photographing the people places and objects that he encountered.
Out of 28,000 35mm shots, he selected 83 for his book The
Americans, which was published in 1958. T he Americans French
edition 1958. Cover design by Saul Steinberg
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Robert Frank, Political rally, Chicago Robert Frank, Swiss,
unobtrusive, nice, with that little camera that he raises and snaps
with one hand he sucked a sad poem right out of America onto film,
taking rank among the tragic poets of the world. - Jack Kerouac,
introduction to The Americans
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Robert Frank, Parade, Hoboken, New Jersey
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Robert Frank, Canal Street New Orleans
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Robert Frank, Charleston, South Carolina
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Robert Frank, Covered car, Long Beach, California
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Robert Frank, Sante Fe, New Mexico
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DIANE ARBUS In Arbus photographs, transvestites, giants and
dwarves are presented sympathetically and with dignity, while
supposedlynormal American citizens often appear eccentric or
strange. She often used a flash, even in daylight, giving her
images a theatrical edge. She placed her subjects in the centre of
the square frame. - www.tate.org.uk Diane Arbus photographed by
Garry Winogrand in Central Park, 1969
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Diane Arbus, Woman with a veil on Fifth Ave, 1968 Theres a
quality of legend about freaks. Most people go through life
dreading theyll have a traumatic experience. Freaks were born with
their trauma. Theyve already passed their test in life. Theyre
aristocrats. Diane Arbus
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Diane Arbus, Mexican dwarf in hotel room, 1970 Diane Arbus,
Woman with a veil on Fifth Ave, 1968
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Diane Arbus, A naked man being a woman, 1968 Diane Arbus,
Mexican dwarf in hotel room, 1970
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Diane Arbus, Child with a toy grenade in Central Park Diane
Arbus, A naked man being a woman, 1968
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Garry Winogrand Garry Winogrand was a street photographer from
New York known for his portrayal of American life, and its social
issues, in the mid- 20th century. At the time of his death at age
56, his late work remained largely undeveloped, with about 2,500
rolls of undeveloped film, 6,500 rolls of developed but not proofed
exposures, and about 3,000 rolls only realised as far as contact
sheets being made. In total he left nearly 300,000 unedited images.
Garry Winogrand, New York 1965
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Garry Winogrand, El Morocco nightclub, 1955
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Garry Winogrand, New York Worlds Fair, 1964
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Garry Winogrand, Los Angeles 1969
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Garry Winogrand, New York City 1969
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Garry Winogrand, Muhammad Ali press conference, New York City,
1970
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Garry Winogrand, Metropolitan Museum ball, 1969
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William Eggleston, Memphis, Tennessee, c1971 WILLIAM EGGLESTON
The New Colour Photography William Eggleston works with the most
commonplace subjects, he photographs "democratically"--literally
photographing the world around him. In the 1970s, he pioneered the
use of colour film in the world of art photography.
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William Eggleston, Georgia, 1978
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William Eggleston, Memphis, 1969-71 The people in Egglestons
photographs could be characters in a Coen Brothers movie. The
skinny, sharp-featured woman in the bouffant hairdo is a comical
and vaguely alarming figure - New York Times
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William Eggleston, untitled, no date
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Contemporary Photographers Melbourne photographer Louis Porter
continues this tradition of street photography.