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THE STREET Photojournalism, Documentary and Street Photography.

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1 THE STREET Photojournalism, Documentary and Street Photography

2 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.

3 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.

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

5 André Kertesz, Circus, Budapest, 1920

6 André Kertesz, On the Boulevards, 1934

7 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.

8 Henri Cartier-Bresson, Brussels, 1932

9 Henri Cartier-Bresson, Banks of the Marne, 1938

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

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

12 Henri Cartier-Bresson, Russia 1955

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

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

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

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

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

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

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

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

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

22 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

23 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

24 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

25 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

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

27 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

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

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

30 Behind the Gare St Lazare, Greg Neville, 2016

31 Behind the Gare St Lazare, Greg Neville, 2016

32 Behind the Gare St Lazare, Greg Neville, 2016

33 Behind the Gare St Lazare, Greg Neville, 2016

34 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.

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

36 Walker Evans, Roadside stand near Birmingham, 1936

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

38 Walker Evans, Garage in Southern City Outskirts, 1936

39 Walker Evans, Barber Shop, New Orleans 1935

40 Walker Evans, Barber Shop, New Orleans 1935 - detail

41 Walker Evans, Barber Shop, New Orleans 1935 - detail

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

43 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

44 Walker Evans, Allie Mae Burroughs, 1936

45 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

46 Dorothea Lange, Migrant Mother, 1936
Dorothea Lange in the 1930s Dorothea Lange, Migrant Mother, 1936

47 Dorothea Lange, Migrant Mother, 1936
Peapickers in camp, 1936 Dorothea Lange, Migrant Mother, 1936

48 Peapickers in camp, 1936

49 Peapickers in camp, 1936

50 Dorothea Lange, Migrant Mother, 1936
Peapickers in camp, 1936 Dorothea Lange, Migrant Mother, 1936

51 Raphael, Madonna and Child, c1503
Dorothea Lange, Migrant Mother, 1936

52 Florence Thompson in 1979 Dorothea Lange, Migrant Mother, 1936

53 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

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

55 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.

56 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 Cover design by Saul Steinberg

57 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

58 Robert Frank, Parade, Hoboken, New Jersey

59 Robert Frank, Canal Street – New Orleans

60 Robert Frank, Charleston, South Carolina

61 Robert Frank, Covered car, Long Beach, California

62 Robert Frank, Sante Fe, New Mexico

63 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. Diane Arbus photographed by Garry Winogrand in Central Park, 1969

64 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

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

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

67 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

68 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

69 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

70 Garry Winogrand, Woman with Ice Cream Cone, 1968

71 Garry Winogrand, New York World’s Fair, 1964

72 Garry Winogrand, Los Angeles 1969

73 Garry Winogrand, New York City 1969

74 Garry Winogrand, New York City 1969

75

76

77

78 Garry Winogrand, New York City 1969

79 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,

80 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,

81 William Eggleston, Untitled 1965-69

82 William Eggleston, Untitled 1965-69

83 CONTEMPORARY STREET PHOTOGRAPHY
Tao Liu Jesse Marlow Matt Stuart

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