PHOTOGRAPHY WARM and COOL Photojournalism and Street Photography

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<ul><li> Slide 1 </li> <li> PHOTOGRAPHY WARM and COOL Photojournalism and Street Photography </li> <li> Slide 2 </li> <li> 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 </li> <li> Slide 3 </li> <li> 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 </li> <li> Slide 4 </li> <li> Photographs about the act of looking </li> <li> Slide 5 </li> <li> Slide 6 </li> <li> Slide 7 </li> <li> Slide 8 </li> <li> Slide 9 </li> <li> Slide 10 </li> <li> 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 </li> <li> Slide 11 </li> <li> 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 </li> <li> Slide 12 </li> <li> 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. </li> <li> Slide 13 </li> <li> VU, the weekly picture magazine </li> <li> Slide 14 </li> <li> 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 </li> <li> Slide 15 </li> <li> 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 </li> <li> Slide 16 </li> <li> 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. </li> <li> Slide 17 </li> <li> Henri Cartier-Bresson </li> <li> Slide 18 </li> <li> Henri Cartier-Bresson, Sunday on the banks of the River Marne, 1938 </li> <li> Slide 19 </li> <li> Henri Cartier-Bresson </li> <li> Slide 20 </li> <li> Henri Cartier-Bresson, Russia 1955 </li> <li> Slide 21 </li> <li> Henri Cartier-Bresson, Life Magazine cover, 1955 Military appraisal at Russian trolley stop </li> <li> Slide 22 </li> <li> Henri Cartier-Bresson, Simigne-la-Rotonde, 1969 </li> <li> Slide 23 </li> <li> Slide 24 </li> <li> Slide 25 </li> <li> Slide 26 </li> <li> Slide 27 </li> <li> Slide 28 </li> <li> 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 </li> <li> Slide 29 </li> <li> 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 </li> <li> Slide 30 </li> <li> Closing the gap between the shoes and its reflection defeats the point of the photograph, which is the suspension of time. </li> <li> Slide 31 </li> <li> Henri Cartier-Bresson Behind the Gare St Lazare, Paris, 1932 </li> <li> Slide 32 </li> <li> 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 </li> <li> Slide 33 </li> <li> Henri Cartier-Bresson, negative The actual negative from 1932 </li> <li> Slide 34 </li> <li> Henri Cartier-Bresson, negative Inverted to show cropping of the negative </li> <li> Slide 35 </li> <li> Where the photograph was taken. Google Street View </li> <li> Slide 36 </li> <li> Slide 37 </li> <li> 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. </li> <li> Slide 38 </li> <li> Slide 39 </li> <li> Slide 40 </li> <li> Slide 41 </li> <li> Slide 42 </li> <li> Slide 43 </li> <li> Slide 44 </li> <li> 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. </li> <li> Slide 45 </li> <li> 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 </li> <li> Slide 46 </li> <li> 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 </li> <li> Slide 47 </li> <li> Robert Frank, Parade, Hoboken, New Jersey </li> <li> Slide 48 </li> <li> Robert Frank, Canal Street New Orleans </li> <li> Slide 49 </li> <li> Robert Frank, Charleston, South Carolina </li> <li> Slide 50 </li> <li> Robert Frank, Covered car, Long Beach, California </li> <li> Slide 51 </li> <li> Robert Frank, Sante Fe, New Mexico </li> <li> Slide 52 </li> <li> 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. - Diane Arbus photographed by Garry Winogrand in Central Park, 1969 </li> <li> Slide 53 </li> <li> 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 </li> <li> Slide 54 </li> <li> Diane Arbus, Mexican dwarf in hotel room, 1970 Diane Arbus, Woman with a veil on Fifth Ave, 1968 </li> <li> Slide 55 </li> <li> Diane Arbus, A naked man being a woman, 1968 Diane Arbus, Mexican dwarf in hotel room, 1970 </li> <li> Slide 56 </li> <li> Diane Arbus, Child with a toy grenade in Central Park Diane Arbus, A naked man being a woman, 1968 </li> <li> Slide 57 </li> <li> 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 </li> <li> Slide 58 </li> <li> Garry Winogrand, El Morocco nightclub, 1955 </li> <li> Slide 59 </li> <li> Garry Winogrand, New York Worlds Fair, 1964 </li> <li> Slide 60 </li> <li> Garry Winogrand, Los Angeles 1969 </li> <li> Slide 61 </li> <li> Garry Winogrand, New York City 1969 </li> <li> Slide 62 </li> <li> Garry Winogrand, Muhammad Ali press conference, New York City, 1970 </li> <li> Slide 63 </li> <li> Slide 64 </li> <li> Garry Winogrand, Metropolitan Museum ball, 1969 </li> <li> Slide 65 </li> <li> Slide 66 </li> <li> 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. </li> <li> Slide 67 </li> <li> William Eggleston, Georgia, 1978 </li> <li> Slide 68 </li> <li> 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 </li> <li> Slide 69 </li> <li> William Eggleston, untitled, no date </li> <li> Slide 70 </li> <li> Slide 71 </li> <li> Contemporary Photographers Melbourne photographer Louis Porter continues this tradition of street photography. </li> <li> Slide 72 </li> <li> Louis Porter, Unknown Places, 2004-12 </li> <li> Slide 73 </li> <li> Slide 74 </li> <li> Slide 75 </li> <li> Slide 76 </li> </ul>