1. PHOTOGRAPHY WARM and COOL Photojournalism and Street Photography

2. 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

3. 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 Lecène, Paris 1934

4. Photographs about the act of looking

10. ANDRÉ KERTESZ André 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 life—not the way it was, but the way I felt it. This is the most important thing: not analyzing, but feeling.“ André Kertesz, Circus in Budapest, 1920

11. 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. André Kertesz, On the boulevard 1934

12. 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.

13. VU, the weekly picture magazine

14. His most famous photograph was taken in the studio of a sculptor. Dancer Magda Förstner playfully poses like the sculpture. André Kertesz, Satiric Dancer 1926

15. His most famous photograph was taken in the studio of a sculptor. Dancer Magda Förstner playfully poses like the sculpture. This vintage print was sold at Christies’ auction in 2008 for $448,000

16. 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.

17. Henri Cartier-Bresson

18. Henri Cartier-Bresson, Sunday on the banks of the River Marne, 1938

19. Henri Cartier-Bresson

20. Henri Cartier-Bresson, Russia 1955

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

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

28. 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

29. 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

30. Closing the gap between the shoes and its reflection defeats the point of the photograph, which is the suspension of time.

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

32. 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

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

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

35. Where the photograph was taken. Google Street View

37. 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.

44. 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.

45. 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

46. 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

47. Robert Frank, Parade, Hoboken, New Jersey

48. Robert Frank, Canal Street – New Orleans

49. Robert Frank, Charleston, South Carolina

50. Robert Frank, Covered car, Long Beach, California

51. Robert Frank, Sante Fe, New Mexico

52. 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

53. Diane Arbus, Woman with a veil on Fifth Ave, 1968 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

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

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

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

57. 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

58. Garry Winogrand, El Morocco nightclub, 1955

59. Garry Winogrand, New York World’s Fair, 1964

60. Garry Winogrand, Los Angeles 1969

61. Garry Winogrand, New York City 1969

62. Garry Winogrand, Muhammad Ali press conference, New York City, 1970

64. Garry Winogrand, Metropolitan Museum ball, 1969

66. 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”.

67. William Eggleston, Georgia, 1978

68. 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

69. William Eggleston, untitled, no date

71. Contemporary Photographers Melbourne photographer Louis Porter continues this tradition of street photography.

72. Louis Porter, Unknown Places, 2004-12