Bibliography
- Author Jack Ashley
- Title The Photography Of The Street
- Volume 2813
- Pages 11 + 5 of my photography work +1 bibliography page a total of 17
- London
- Bournemouth
- Salisbury
- Paris- France
Research Locations
Overview
I have bean looking at street photography and photojournalism and how the photographs of the past and present use techniques to tell a story in one shot. I have looked into the historical political control and contextual views of two photographers in particular Joel Meyerowitz & Henri Cartier Bresson. I have also analyzed some of their work and tried to produce my own street photography work using there techniques. The essay also explores street photography and how it has become the people’s photography.
Web research
BookRags Media Network. (2010). Henri Cartier-Bresson. Available: http://www.brainyquote.com/quotes/authors/h/henri_cartierbresson.html. Last accessed may 9th 2011.
Stuart Nolan and Barbara Slaughter. (5 November 1999). Henri Cartier-Bresson: From a higher reality to a respect for reality. Available: http://www.wsws.org/articles/1999/nov1999/c-b-n05.shtml. Last accessed may 9th 2011
enri Cartier-Bresson. (1995). Photography Quotes. Available: http://www.best-quotes-poems.com/photography-quotes.html. Last accessed may 9th 2011.
Ivan Tolmachev . (Mar 15th 2010). A History of Photography Part 1: The Beginning. Available: http://photo.tutsplus.com/articles/history/a-history-of-photography-part-1-the-beginning/. Last accessed may 8th
Joel Meyerowitz. (2006). I don’t tell people to go back and act out something. Available: http://www.joelmeyerowitz.com/.
Mark Stagi. (2001). “The only thing which completely was an amazement to me and brought me to photography was the work of Munkacsi. When I saw the photograph of Munkacsi of the black kids running in a wave I couldn’t bel. Available: http://digitalphotobuzz.com/the-decisive-moment-cartier-bresson. Last accessed sunday 15th 2011.
JOEL MEYEROWITZ. (80s to 2010). JOEL MEYEROWITZ. Available: http://www.photoquotes.com/ShowQuotes.aspx?id=200&name=Meyerowitz,Joel. Last accessed may 9th 2011.
phil topmost . (2011). the photographers that changed time . Available: http://pindelski.blogspot.com/2006_02_01_archive.html. Last accessed
Joel Meyerowitz . (2002). I saw what I had to do, to me; no photographs’ meant no history”.. Available: http://www.art2art.org/exhibit_aftermath.html. Last accessed 15 may
Quotes from above link
Making any statement of your feelings is risky. It’s just like making pictures. – Joel Meyerowitz – A Conversation: Bruce K. Macdonald with Joel Meyerowitz, July 22-26, 1977 (Cape Cod)
What I think is so extraordinary about the photograph is that we have a piece of paper with this image adhered to it, etched on it, which interposes itself into the plane of time that we are actually in at that moment. Even if it comes from as far back as 150 years ago, or as recently as yesterday, or a minute before as a Polaroid color photograph, suddenly you bring it into your experience. You look at it, and all around the real world is humming, buzzing and moving, and yet in this little frame there is stillness that looks like the world. That connection, that collision, that interfacing, is one of the most astonishing things we can experience. – Joel Meyerowitz
in-public. (2010). Joel Meyerowitz. Available: http://www.in-public.com/JoelMeyerowitz. Last accessed may 8th 2011.
Henri Cartier Bresson. (1998). For me the camera is a sketch book,. Available: http://www.henricartierbresson.org/hcb/home_en.htm. Last accessed may 9th 2011.
Quote from above link
For me the camera is a sketchbook, an instrument of intuition and spontaneity, the master of the instant which, in visual terms, questions and decides simultaneously. In order to “give a meaning” to the world, one has to feel involved in what one frames through the viewfinder. This attitude requires concentration, discipline of mind, sensitivity, and a sense of geometry. It is by economy of means that one arrives at simplicity of expression.
To take a photograph is to hold one’s breath when all faculties converge in a face of fleeing reality. It is at that moment that mastering an image becomes a great physical and intellectual joy.
To take a photograph means to recognize – simultaneously and within a fraction of a second– both the fact itself and the rigorous organisation of visually perceived forms that give it meaning.
It is putting one’s head, one’s eye, and one’s heart on the same axis.
OTHER WEB RESEARCH
www.thelantern.com/news/2007/01/18/Arts/Alumn…Remove frame
http://en.wikipedia.org/wiki/Henri_Cartier-Bresson
http://en.wikipedia.org/wiki/Joel_Meyerowitz
http://en.wikipedia.org/wiki/Street_photography
http://fic123berichtvandedag.blogspot.com/2010_04_01_archive.html
http://www.joelmeyerowitz.com/
http://www.henricartierbresson.org/index_en.htm
EXHIBITIONS I WENT TO
http://www.onealdwych.com/what’s-on/exhibitions.aspx
http://www.thevintageguidetolondon.com/exhibition-london-street-photography/
http://www.metro.co.uk/news/857189-metro-readers-photos-to-feature-in-exhibition
http://www.photoradar.com/news/story/10-photography-exhibitions-to-see-in-march-2011-0
http://www.tate.org.uk/search/default.jsp?terms=photogrphy&search=Search
BOOKS
ian jeffrey ((13 April 2000)). The Photography Book. USA: Phaidon Press Ltd. 520 pages.Peter Galassi ((30 Oct 2006)). Henri Cartier-Bresson: The Man, the Image and the World. New York: Robert Delpire. Pg 432 .
Peter Galassi ( (12 April 2010)). Henri Cartier-Bresson: The Modern Century. New york : Thames & Hudson. 376 pages.
Beaumont Newhall ((1 Nov 2005)). A History of Photography: From 1839. london: Taschen. 766 pages.
Henri Cartier-Bresson (May 1998). A Propos de Paris. France: Bulfinch Press; Reprint edition . 168 pages. Pg 53 – 76
A study of street photography with a focus on the work by Henri Cartier Bresson and Joel Meyerowitz
Introduction
I have been exploring street photography and wanted to investigate the work by Henri Cartier Bresson and Joel Meyerowitz. I wanted to explore each artist to find out there background and their opinions on street photography. I wanted to learn how Bresson & Meyerowitz captured their photographs and how there photography reflects the political cultural historical and contextual maters of there time.
Photography to me is meant to capture the interest and attention of people. To make them think by getting them inspired by delivering a specific message about a specific mater. I believe that Street photography has a simplistic message, capturing forever moments in time. This is why I love street photography it is like holding up a mirror to society what you see is what you get. It is about being in the right place at the right time, the content and the composition of the image is crucial. One of the reasons I decided to research street photography is because the only manipulation of the image that is used in the best street photography and which has the most natural energy in my opinion is the manipulation of what the photographer frames in his viewfinder.
Inspired by Henri Cartier Bresson and his photographs, I decided to look more in depth into the style of Street Photography. I discovered that snap shooting was made possible by the invention of small hand held cameras.
As the style and technology evolved, most street photographers found themselves using wide-angle zoom lenses. Street photographers historically use a high-speed iso-400-800 high performance system. Henry Cartier Bresson “Street photography is about snap shooting, capturing interesting and dynamic snap shots, recording the realty of the human essence in a second”. The photos represent real life and culture in society on the street. After an unsuccessful attempt to learn music Henri Cartier Bresson began oil panting. He became inspired by a 1930 photograph by Hungarian a photojournalist Martin Munkacsi showing three naked young African boys, caught in near-silhouette, running into the sea of Lake Tanganyika. Henry Cartier Bresson “This photograph captured the freedom, grace and spontaneity of their movement and their joy of being alive.”
Cartier-Bresson, http://digitalphotobuzz.com/the-decisive-moment-cartier-bresson ”The only thing that completely was amazement to me and brought me to photography was the work of Munkacsi. When I saw the photograph of Munkacsi of the black kids running in a wave I couldn’t believe such a thing could be caught with a camera. I said damn it, I took my camera and went out into the street.”
http://pindelski.blogspot.com/2006_02_01_archive.html “Bresson picked up his lice in 1932 equipped with a sharp fast lens fitted with a 35mm film.” He recognized how the new small cameras made it possible to capture spontaneous motion, while creating beautiful compositions within the rectangular shape of a single frame. This was the first time anyone could go out into the street and casher real life threw a camera and nobody hade ever seen anything like it before. Henri Cartier Bresson was a shy Frenchman, who effectively created snap shooting to the level of a refined art. “For me the camera is a sketchbook, an instrument of intuition and spontaneity”
His photographs have been published in major magazines across the world. He was also the founder of Magnum Picture Agency, the first ever picture agency, this happened in 1947. What he did changed photography for ever he started the camera revaluation.
Henri is famous for helping to develop the street photography style. His art training background helped develop his compositional skills, making his work unique in the photography world. He was titled the father of modern photojournalism, and had a high respect for press photography, for having the creativity and skill needed to tell a story in one moment through the medium of photography. Henri Cartier Bresson and his work has been a strong influence to generations of photographers.
Henri Cartier-Bresson, 1954, Rue Mouffetard
Henri Cartier-Bresson, 1954, Rue Mouffetard captures the energy and joy of the time as the photograph was taken 10 years after the 2nd world war finished. The image is about freedom and expression the photograph achieves its message in a unique way by capturing a child carrying 2 bottles of what appears to be wine and the subject is smiling. The whole feeling of this photograph is freedom and independents.
The subject looks unaware of the photographer’s presence, which is why the subject appears to be expressing his full and natural emotions. The photographer has cropped the image in a way so every possible angle and aspect of this image draws your eye to the subject. The subject has a huge presence because of the small depth of field used to forces in on him. The background is blurry but gives you an idea of what is going on in the surroundings. Without the background and an incite in to the surroundings the meaning of the photograph would be lost entirely.
Henri Cartier-Bresson1933. Gelatin silver print
The feel of the photograph is dilapidated even the contrast of the image is so that the photograph is dark and un-balanced. The large tunnel vision hole in the wall shows the viewer an incite into the life style of the people in this area. The composition of the photograph is laid out in a way where you can see a whole range of emotions and the three different group’s individuality tell a different story in a way that makes every aspect of the photograph different. The photograph is naturally artistic in composition, which is evident in the placement of the subjects. The rough texture of the smashed wall is like an eye giving the viewer a sneak peek and an insight into this people’s lives, The camera angle is eye level this makes you feel more connected to the subjects and puts the viewer on the same level as the subject making the photograph more emotional and interesting.
The technology is very apparent hear Bresson has intentionally over developed this image in order to make the contrast minimal and balance the levels out. By doing this he has also made the whole image gray and this makes the photograph stand out, making the viewer feel helpless.
Downtown New York, USA, Henri Cartier-Bresson 1947
This photograph is really interesting, the walls framing each side of the image gives a crushing effect to the existent that you want to run down the alley to get out. This effect is created by the strong contrast in light at the end of the long dark allay. The strong stretcher and the leading lines make the photograph look large and dominating. The subject is sitting down with a dog in the middle ground but just out of focus to take away identity and personality of the subject.
The subject looks dirty and comes across as unimportant and irrelevant possibly to signifying a tramp and the way society treats homeless people. The 2nd alley way in the background gives the photograph depth and scale.
The background in the top third looks almost solarised and abstract created by the blurry contrast. I think the image works really well with the shadows creating a sort of layering effect.
With Henri Cartier Bresson’ work, you feel a strong sense of involvement between the viewer and the image; it is almost like as if you were there. Henri Cartier Bresson believes that in street photography you need to feel part of the photo rather than just an onlooker in order to get a good photograph. I agree with him I think in order to take a meaningful photograph you need to understand the situation and become part of the sarandings.
I also think that with his work there is a clear message and specific meaning behind each piece. He was very heavily involved and passionate about his work. “I prowled the streets all day feeling very strung up and ready to pounce determined to trap life, to preserve life in an act of living. For me the camera is a sketch book an instrument of intuition and spontaneity In order to give meaning to the world one has to feel involved in what one frames through the view finder.“
Joel Meyerowitz
After looking and studying the work of Henri Cartier Bresson, I wanted to look at a more modern street photographer. I came across Joel Meyerowitz who Became a street photographer in 1962 he was one of the first photographers to use colour in his photography this was in the mid 1960s, at this time the use of coaler was deeply controversial to some photographers and the art world. Joel Meyerowitz works in the tradition of Henry Cartier Bresson however; Meyerowitz only likes to work in colour. “Black and white is tragic it doesn’t give you a blue sky.”
Joel Meyerowitz believes that as a street photographer, you have to be invisible. I also believe that people reacted differently when cameras are about but the reactions can be good as well as bad. He says Street photography is first about capturing reality.
http://www.joelmeyerowitz.com/ “I don’t tinker with it, I don’t tell people to go back and act out something and that has been my discipline for 44 years.” “Making any statement of your feelings is risky. It’s just like making pictures.”
He believes he doesn’t add anything or manipulate a situation he just captures reality. But he still chose what to include in his viewfinder therefore he does manipulate a situation and as a result changes the feeling of the photograph by choosing what to include. With photography and all art the artist has the power to have a massive effect in how the viewer perceives a situation this could be with the subject or the content and construction of the image.
Meyerowitz has been incredibly successful and takes part in a whole range of styles and different aspects of photography as an art form. He produced the album artwork for the third ‘Taking Back Sunday’ album ‘Louder Now’.
Joel is also known for capturing the fall of the twin towers and the recovery and clear up operation. No photographers were allowed to document the fall of the twin towers. This wasn’t good enough for Joel Meyerowitz who put his photography skills to use.
http://www.art2art.org/exhibit_aftermath.html “
I saw what I had to do, to me; no photographs’ meant no history”.
Meyerowitz quickly befriended some of the recovery workers who got him a pass to the site. However, this didn’t stop officials from kicking him out several times a day. In the end they gave up and he was given an official pass. The result of all his efforts is now seen as a significant piece of history. He thought people needed to see what happened to the twin towers so he preserved the time on film. If Meyerowitz hadn’t been so determined to capture the twin towers clean up operation there would be no visual history of that tragic event so close up. I believe that Meyerowitz is led by his determination to document history.
The world trade centre 2001
This is a photograph by Joel Meyerowitz and is a typical example of his work. Meyerowitz brings energy in to his photographs by using colour in a way that brings life to his work. With this photograph he has documented the people that you didn’t hear about, the workers and the all too important fire fighters.
The image is filled with industrial wreckage but has defiant lending lines drawing your eyes to the subject who is placed off Centre in the left hand third. I think that Meyerowitz work is darker and holds a deeper message than the work of Henri Cartier Bresson. I also think that his work is ambiguous in message and perhaps slightly more complex.
His work shows us the evolution of street photography, it is almost like he saw what Bresson did and broke down the barriers. His work is more real in my opinion he shows a darker more modern aspect of life he is today’s HC Bresson.
A crane being erected on the corner of West and Liberty 2001
The colour red dominates the entire photograph, which has worked incredibly well leaving a dramatic blue-sky. The photograph has been taken at eye level, but the high buildings makes the image feel large and dominating. The photograph is in large depth of field, which gives the photograph more depth. There are strong geometrical lines created by the cranes crossing the buildings. The blue bags and smashed up wood in the right hand third in the foreground create a strong contrast with the tall buildings emphasising the dramatic impact of the image.
I included this photograph because this photo has bean edited Meyerowitz has painted the building and Crain blood red witch is symbolic of the los of life. There is much controversy that surrounds the 9/11 attacks. As many Americans don’t believe the whole story of what happen that day as do. The strongest conspiracy theory that surround these event is that the towers where rigged to blow-up and the towers where designed to fuel the war in Afghanistan and on terror. The colour red in the truck show a lot of theses feelings of anger and power as well as the blood spilt from the 3000 lives lost. The colour also draws attention to the tower. The world trade centre was a well know image around the world. What he has successfully done is to document that historical tragic event for generations to come his photography is a firm reminder that nothing can last forever, we are in factall insignificant and when it all come down to it powerless over our lives.
Camel coat couple in street steam, New York City 1975
The technology and techniques are apparent hear There are interesting shadows projected on the subjects back in the right hand third witch look strange because it looks like the area should be lighter. This is almost as if the photograph and situation has been manipulated to create this effect. The photograph ciphers life in America in 1975 it shows wealth, work, and the pace of life.
There are mixed opinions on street photography some say there is no skill involved in snap shooting it is just potluck. Others say that it is one of the hardest styles of photography and getting that shot so close to strangers without the photographer interfering with the subject or to be seen is hugely challenging. I think snap shooting is one of the only ways of looking at real life in art, with panting the artist never cashers reality with almost every other style of photography the shot is manipulated and is an act. But with street or snap shot you preserve that split second accurately what you see is what you get it is absolute reality.
The street USA 1978
This photograph has depth created by the large street this has made strong leading lines drawing your eyes to the centre. The photograph is dynamic and shows 1970s America from the point of view of a commuter. The photograph looks over crowded and has a ruff texture to the composition this works well and gives the image an impression of city life and dirt. The photograph is well balanced in colours and shows off a range of patterns like a photo montage. At the centre of the photograph is the arched hand shake and two bodies’ framing the women in the background This makes her the second most noticeable subject in the image after the suspicious looking man in black smoking a cigarette in the foreground.
I think that Meyerwitz believes that photographic documentation of the large and traumatic event in human history is essential for future generations to see and in some cases learn from. Similarly I believe that the photographic documentation of human essence as an art form. e.g. street photography can make people think differently about political and or personnel events.
I know that most people respond to photography and art in a different way to written text because it is real and visual proof of an event in time. Street photography cashers real life not fashion not celebrities but real people doing real things this is the peoples photography.
Conclusion
I started this project with little knowledge of the history and importance of street photography, what I have discovered is street photography has become The Peoples Photography. According to The Photo Book 80% the British Public have a camera and 2.5 Billion photos are uploaded to Facebook every month, the public are rapidly becoming keen street and snap photographers. As a result street photography evolves every day.
I began by looking at the work and pioneer of street photography Henri Cartier Bresson who is massively responsible for this; He set up the first pitcher agency; he has many trusts helping young photographs achieve there potential as photographs and as a result made photography assessable to the public. I fawned that in order to take a good photograph you need to be close to the subject.
I looked at Joel Meyerowitz and his use of colour, I discovered that colour effects haw a photograph is perceived. As well as learning about a new field of photography, I have been looking in to the politics of photography and photojournalism and how they tell a story in one shot. Street photography is rapidly growing and an essential medium in today’s culture. One photograph has the power to manipulate your mind and thoughts on a given matter. Photography has documented the last two hundred years of history and will continue to so for the foreseeable future.
Analysis of my own photographs
With my own photography, instead of recreating what Bresson and Meyerowitz had all ready done I wanted to give my own message but use their photographic techniques. I experimented with black and white to see the difference in how the image is perceived. In keeping with Henri Cartier Bresson and Joel Meyerowitz I did not manipulate the photograph after the photograph was taken to keep the natural effect. I avoided controlling the subject by photographing random strangers on the street. Getting so close up and photographing a stranger without there permission was terrifying but essential. I tried to keep in mind what I have lernt over this project HCB “A photograph is neither taken nor seized by force. It offers itself up. It is the photo that takes you. One must not take photos”
Jack Ashley 2011
I think this photograph was successful in composition and it was an experiment of how close I could get to a stranger on the street. The lighting is strong and natural which creates interesting shadows. The photograph represents the traditions of summer. I cropped the subject so I could focus in on the face and exasperation also so no impact was lost.
Jack Ashley 2011
`The city of London
The photograph is made up of British city cloture and determination the image is meant to cashier the energy of a moment in time. I am pleased with the overall effect created in the composition of the photograph. The subject is placed under the brightly coiled London underground sine this helps bring your eye to the subject. The lamp post in the left third rounds the photograph off and gives it a defined border. I set out to casher motion and I am happy with the overall composition.
Jack Ashley 2011
Power The Fight Fore Survival
I am pleased with the layout and composition of the image. I did not manipulate the image to try and make it look different. I am pleased with haw close I got to the subject and the emotions are clear on the subjects.
Jack Ashley 2011 on the move.
Democracy
I used black and white because I wanted the photograph to be in the same stile of Henry Cartier Bresson. I am pleased with the black and white rustic effect.
Jack Ashley 2011 lonely souls wondering
The posture of the man was really abstracted and made the image look unusual.
