THE STREET Photojournalism, Documentary and Street Photography

PHOTOJOURNALISM Photojournalism is a particular form of journalism that employs still photos to tell a news story. Photojournalism complies with a rigid ethical framework which demands that the work be both honest and impartial whilst telling the story in strictly journalistic terms.

DOCUMENTARY PHOTOGRAPHY Documentary photography follows a single topic or story in-depth over time, as opposed to photojournalism’s real-time coverage of breaking news and events.

STREET PHOTOGRAPHY A genre of photography conducted for art or enquiry that features chance encounters and random incidents within public places.

André Kertesz, Circus, Budapest, 1920

André Kertesz, On the Boulevards, 1934

HENRI CARTIER-BRESSON Cartier-Bresson is the most famous photo-journalist and street photographer. He worked internationally for 50 years and helped set up the Magnum photo agency. His best photographs combine interesting subjects with precise timing and beautiful compositions.

Henri Cartier-Bresson, Brussels, 1932

Henri Cartier-Bresson, Banks of the Marne, 1938

Henri Cartier-Bresson, Beijing. Final days of the Kuomintang, 1948

Henri Cartier-Bresson, Tokyo Henri Cartier-Bresson, Tokyo. A farewell service for the late actor Danjuro, 1965

Henri Cartier-Bresson, Russia 1955

Henri Cartier-Bresson, Life Magazine cover, 1955 ‘Military appraisal at Russian trolley stop’

Life Magazine photo essay, January 17, 1955 Pages of photo-essay from Life magazine Life Magazine photo essay, January 17, 1955

Life Magazine photo essay, January 17, 1955 Pages of photo-essay from Life magazine Life Magazine photo essay, January 17, 1955

Henri Cartier-Bresson, Simigne-la-Rotonde, 1969

Henri Cartier-Bresson, Simigne-la-Rotonde, 1969

Henri Cartier-Bresson, Simigne-la-Rotonde, 1969

Henri Cartier-Bresson, Simigne-la-Rotonde, 1969

Henri Cartier-Bresson, Simigne-la-Rotonde, 1969

Henri Cartier-Bresson, Simigne-la-Rotonde, 1969

Henri Cartier-Bresson Behind the Gare St Lazare, Paris, 1932 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

Henri Cartier-Bresson Behind the Gare St Lazare, Paris, 1932 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

Henri Cartier-Bresson Behind the Gare St Lazare, Paris, 1932 Closing the gap between the shoes and its reflection defeats the point of the photograph, which is the suspension of time. Henri Cartier-Bresson Behind the Gare St Lazare, Paris, 1932

Henri Cartier-Bresson Behind the Gare St Lazare, Paris, 1932 Closing the gap between the shoes and its reflection defeats the point of the photograph, which is the suspension of time. Henri Cartier-Bresson Behind the Gare St Lazare, Paris, 1932

Henri Cartier-Bresson Behind the Gare St Lazare, Paris, 1932

Henri Cartier-Bresson Behind the Gare St Lazare, Paris, 1932 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 didn’t want to look at the picture.” – René Burri Henri Cartier-Bresson Behind the Gare St Lazare, Paris, 1932

Henri Cartier-Bresson, negative The actual negative from 1932 Henri Cartier-Bresson, negative

Henri Cartier-Bresson, negative Inverted to show cropping of the negative Henri Cartier-Bresson, negative

Behind the Gare St Lazare, Greg Neville, 2016

Behind the Gare St Lazare, Greg Neville, 2016

Behind the Gare St Lazare, Greg Neville, 2016

Behind the Gare St Lazare, Greg Neville, 2016

DOCUMENTARY PHOTOGRAPHY Walker Evans and the Farm Security Administration Walker Evans was one of the most dedicated realists in the history of photography. He worked for the Farm Security Administration, an agency of President Roosevelt’s New Deal that sought to improve the conditions in the country during the Great Depression.

Walker Evans at work, c1936 http://xroads. virginia

Walker Evans, Roadside stand near Birmingham, 1936 http://www.seoulartfiend.com/2010/06/28/walker-evans-at-the-hanmi-photography-museum/

Walker Evans, Farmhouse, Westchester County, New York, 1936

Walker Evans, Garage in Southern City Outskirts, 1936

Walker Evans, Barber Shop, New Orleans 1935

Walker Evans, Barber Shop, New Orleans 1935 - detail

Walker Evans, Barber Shop, New Orleans 1935 - detail

Walker Evans, Penny Picture Display, Savannah, Georgia, 1936

Walker Evans, Allie Mae Burroughs, 1936 He spent time with a poor rural family in the South, capturing their hard life but also their humanity. Walker Evans, Allie Mae Burroughs, 1936 http://www.fenimoreartmuseum.org/node/1530

Walker Evans, Allie Mae Burroughs, 1936 http://www.fenimoreartmuseum.org/node/1530

DOROTHEA LANGE Dorothea Lange also worked for the Farm Security Administration. In 1936 she photo- graphed a temporary camp for itinerant farm labourers. Dorothea Lange, Migrant Mother, 1936

Dorothea Lange, Migrant Mother, 1936 Dorothea Lange in the 1930s http://www.fenimoreartmuseum.org/node/1530 Dorothea Lange, Migrant Mother, 1936

Dorothea Lange, Migrant Mother, 1936 Peapickers in camp, 1936 Dorothea Lange, Migrant Mother, 1936 http://www.fenimoreartmuseum.org/node/1530

Peapickers in camp, 1936 http://www.fenimoreartmuseum.org/node/1530

Peapickers in camp, 1936 http://www.fenimoreartmuseum.org/node/1530

Dorothea Lange, Migrant Mother, 1936 Peapickers in camp, 1936 Dorothea Lange, Migrant Mother, 1936 http://www.fenimoreartmuseum.org/node/1530

Raphael, Madonna and Child, c1503 Dorothea Lange, Migrant Mother, 1936 http://www.fenimoreartmuseum.org/node/1530

Florence Thompson in 1979 Dorothea Lange, Migrant Mother, 1936

Dorothea Lange, Migrant Mother, 1936 Florence Thompson in 1979 'I wish she hadn't taken my picture. I can't get a penny out of it. She didn't ask my name. She said she wouldn't sell the pictures. She said she'd send me a copy. She never did.’ Dorothea Lange, Migrant Mother, 1936

Florence Thompson and children in 1979 Dorothea Lange, Migrant Mother, 1936

POST-WAR STREET PHOTOGRAPHY In the 1950s and 60s there was a new approach to photographing the social landscape in America. These photographers had a cool, existential approach to the subject. The warm, humanism of Cartier-Bresson and Dorothea Lange was rejected as sentimental.

ROBERT FRANK The Americans, 1958 In 1955 Robert Frank was awarded a Guggenheim Fellowship to drive through the United States photographing the people and places he encountered. Out of 28,000 shots, he selected 83 for his book The Americans, published in 1958. The Americans French edition 1958. Cover design by Saul Steinberg

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 Robert Frank, Political rally, Chicago

Robert Frank, Parade, Hoboken, New Jersey

Robert Frank, Canal Street – New Orleans

Robert Frank, Charleston, South Carolina

Robert Frank, Covered car, Long Beach, California

Robert Frank, Sante Fe, New Mexico

DIANE ARBUS In Arbus’ photographs, transvestites, giants and dwarves are presented sympathetically and with dignity, while supposedly‘normal’ 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

There’s a quality of legend about freaks There’s a quality of legend about freaks. Most people go through life dreading they’ll have a traumatic experience. Freaks were born with their trauma. They’ve already passed their test in life. They’re aristocrats. – Diane Arbus Diane Arbus, Woman with a veil on Fifth Ave, 1968

Diane Arbus, Mexican dwarf in hotel room, 1970 Woman with a veil on Fifth Ave, 1968 Diane Arbus, Mexican dwarf in hotel room, 1970

Diane Arbus, A naked man being a woman, 1968 Diane Arbus, Mexican dwarf in hotel room, 1970

Diane Arbus, Child with toy grenade, Central Park, 1962 Diane Arbus, A naked man being a woman, 1968 Diane Arbus, Child with toy grenade, Central Park, 1962

GARRY WINOGRAND Garry Winogrand was a street photographer known for his oblique vision of public life in mid-century America. “A photograph isn’t what was photographed. It’s something else. It’s about transformation I photograph to find out what something will look like photographed.” Garry Winogrand, New York 1965

GARRY WINOGRAND At the time of his death at age 56, Winogrand’s late work remained largely undeveloped, with about 2,500 rolls of undeveloped film. 6,500 rolls had been developed but not proofed 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, contact sheet, 1961

Garry Winogrand, Woman with Ice Cream Cone, 1968

Garry Winogrand, New York World’s Fair, 1964

Garry Winogrand, Los Angeles 1969

Garry Winogrand, New York City 1969

Garry Winogrand, New York City 1969

Garry Winogrand, New York City 1969

William Eggleston, Memphis, 1969-71 The New Colour Photography In the 1970s William Eggleston pioneered the use of colour film in the world of “art photography”. William Eggleston, Memphis, 1969-71

William Eggleston, Memphis, 1969-71 The people in Eggleston’s 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 William Eggleston, Memphis, 1969-71

William Eggleston, Untitled 1965-69

William Eggleston, Untitled 1965-69

CONTEMPORARY STREET PHOTOGRAPHY Tao Liu https://petapixel.com/2015/01/02/self-taught-chinese-street-photographer-tao-liu-eye-peculiar-moments/ Jesse Marlow http://www.jessemarlow.com Matt Stuart http://www.mattstuart.com/photography/