Photographic Heroes
Exhibition Leaflet
For this task we had to create and a leaflet of an imaginary exhibition that we will curate. I stayed to the initial idea of doing an exhibition about Decisiveness in Street Photography and chose some of the greatest photographers in this field which I think were suitable for my theme. I used Google Docs to create the frame and the theme of my leaflet and used the name and location of an actual Gallery.
Room 1 - America
Joel Meyerowitz
Elliott Erwitt
Room 2 - Europe
Martin Parr
Henri Cartier-Bresson
Room 2 - Asia
Raghubir Singh
Michio Yamauchi
Joel Meyerowitz
Elliott Erwitt
Room 2 - Europe
Martin Parr
Henri Cartier-Bresson
Room 2 - Asia
Raghubir Singh
Michio Yamauchi
THE DECISIVE MOMENT IN STREET PHOTOGRAPHY
Introduction:
The Photographer’s Gallery is excited to announce it’s newest exhibition titled “Decisiveness in Street Photography” and explores, the importance and the impact on next generation photographers, the decisive moment had. The “decisive moment” is a term which was first used by photographer Henri Cartier-Bresson. “There is nothing in this world that does not have a decisive moment.”, a quote by Cardinal de Retz, which was used in the opening of Cartier-Bresson’s book Images à la Sauvette (Images On the Run), published in France in 1952. But what is the meaning of the “decisive moment” and why is it so important?
A quotation from Cartier-Bresson gives the exact meaning: “Photography is the simultaneous recognition, in a fraction of a second, of the significance of an event as well as of a precise organisation of forms which give that event its proper expression.” Thus the importance of the decisive moment which is vital in the construction of the perfect image, lies not only in the precise and exact organisation of the forms in the confined space of the image, but also on the capture of the frame on the exact right moment in time.
This exhibition will guide the exhibitor on a journey through a few of the best street photographers of the 20th century, photographers who through their work, influenced many other photographers of the following generations. Street photography by itself is a very creative and important part of photography subdivision, but combined with the decisiveness, and the art of capturing the “perfect moment” is what made a breakthrough and changed the way of photographing.
Images exhibited in this exhibition, are collected for various private and public collections around the world. The exhibition is divided among three rooms, titled by the continent the artists are from, America, Europe and Asia, as the curator felt the importance of reflecting the way the photographers capture moments, due to their own personal experiences and traditions from around the world. So take a moment and enjoy a multicultural journey through the Street Photography.
A quotation from Cartier-Bresson gives the exact meaning: “Photography is the simultaneous recognition, in a fraction of a second, of the significance of an event as well as of a precise organisation of forms which give that event its proper expression.” Thus the importance of the decisive moment which is vital in the construction of the perfect image, lies not only in the precise and exact organisation of the forms in the confined space of the image, but also on the capture of the frame on the exact right moment in time.
This exhibition will guide the exhibitor on a journey through a few of the best street photographers of the 20th century, photographers who through their work, influenced many other photographers of the following generations. Street photography by itself is a very creative and important part of photography subdivision, but combined with the decisiveness, and the art of capturing the “perfect moment” is what made a breakthrough and changed the way of photographing.
Images exhibited in this exhibition, are collected for various private and public collections around the world. The exhibition is divided among three rooms, titled by the continent the artists are from, America, Europe and Asia, as the curator felt the importance of reflecting the way the photographers capture moments, due to their own personal experiences and traditions from around the world. So take a moment and enjoy a multicultural journey through the Street Photography.
ROOM 1: AMERICANS
This room introduces the work of two great and successful American street photographers praised for their work. Both of them explore the life in one of the greatest metropolitan cities in the world, New York. The first photographer, Joel Meyerowitz, whose work will be exhibited, is a renowned New York street photographer who photographed from photos in the streets of Paris till the Ground zero. The second photographer Elliott Erwitt, was born in France but lived most of his life in America and used and uses his camera to capture the impact of social issues such as the racial segregation in the USA and other political issues. Both photographers work has a great impact on the way Street Photography stands in-between other forms of art, and their photographs deeper meaning, made them famous in a worldwide scale.
Joel Meyerowitz
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Fallen Man, Paris, France, 1967
This image is part of one of Meyerowitz collections named “Taking My Time”. Taken in Paris in 1967, it was part of a personal project he decided to do whilst travelling all around Europe trying to “take” his time and find his personal style of photography. In an interview with Huffington post in 2015 Meyerowitz stated that this image is one of his favourites as it manages to capture the chaotic everyday life of the metropolitan city and the inaction of a crowd although curious, unable and unwilling to do something to help the man who fell on the ground. His ability to “freeze” everything in just one image, and the decisiveness of the moment when the man just fell on the ground in juxtaposition with the traffic in the background and the crowd staring at him, is exquisite and unique. As the artist stated in an interview with Huffington Post: “A photograph allows such contradictions to exist in everyday life; more than that, it encourages them. Photography is about being exquisitely present.” The combination of geometry and lines make this image beautifully composed and succeed to express the greater drama of life in the city.
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Girl on a scooter, NYC, 1965
This image was taken in the street of New York City, one of greatest and busiest metropolitan cities in the world. The shot was taken just a few years after Joel decided to exclusively work as a photographer, and was trying to figure out his style and personality in Photography. He used a Leica to capture the image as the Pentax he borrowed prior to the Leica, was limiting the way he saw things and could respond to them. His greatest inspiration was Garry Winogrand who he met in the streets of NY. He inspired him to expand his view and ideology of street photography, because, for Meyerowitz, street photography was not just “random” candid photography but the ability to capture the world and the decisiveness of the moment in a few fractions of a second. The purple dress of the lady on the blue scooter with the soft grey colour of the buildings in the background, in combination with the lack of any other moving car or passenger, transfers the idea of a relaxed and peaceful mood in the centre of a busy and chaotic city.
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Five More Found, NYC, 2001
The image is part of the photographic archive of Ground Zero the only one existing, after the 9-11-2001 attacks that took place on the World Trade Center. Meyerowitz was the only photographer to have access to Ground Zero after the attacks, after a lot of bureaucratic hurdles. He spent nine months on the site taking more than 8,000 images, capturing in detail the aftermath of one of the most severe terrorist attack in the history. Although the image was taken at night, the detail and crispness were accomplished using a large format camera, a small aperture with long exposure and a tripod. The image is so strong as it captures the massive destruction of a building such as World Trade Center, with the huge number of lives that were taken, and the ruins they left behind. “Five More Found”; the strong title of the image shows the importance for a few more people to be found, a few more chances for their families not to mourn, a few more chances for them to be alive. These moments Joel spent on the Ground Zero were life changing and influenced dramatically, as he says, his work :”The intense camaraderie I experienced at Ground Zero inspired me, changing both my sense of myself and my sense of responsibility to the world around me”.
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Elliott Erwitt
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- In 1968 he married Diana Dann with whom he stayed till the mid-70s.
- During the 1970s Erwitt produced several documentary films and in the 1980s he passed on to comedy film producing 18 for Home Box Office.
Segregated Water Fountains, North Carolina, 1950
This picture was taken by Erwitt in the summer of 1950 in a school in North Carolina. The ‘white’ water fountain is more luxurious and clean than the coloured and the black figure drinks from the coloured one. The photograph itself tells the story. The problem of discrimination in America had become greater after the Civil War and it expanded dramatically with the participation of America in the World War II, where the southern society had fully segregated in most public and private sectors. Four years after the image was taken, the first drastic measurements and efforts were organised by the civil rights movement to eradicate the racial segregation of African Americans and other ethnic minorities. Although Erwitt did not mean to take the image due to the current events and ideology “My work is about seeing, not about ideas”, it became a symbol of the injustice of social segregation and pointed out the need for change. Erwitt uses a black and white film camera, as he
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believes it gives a more straightforward and truthful touch.
Lost Persons Area, Pasadena, California, 1963
The photo was taken by Erwitt in in park in Pasadena in 1963. The sign “Lost Persons Area” refers to the enclosed part of the park, where people can go and find friends or family that have been lost. Although this image might give the wrong impression of a decisive moment been captured just the right moment indeed Elliott admitted in an interview that the image was indeed staged as most of his work in black and white. Although this image seems rather interesting or with deeper meaning, and as Erwitt tends to photograph things not because he seeks for a deeper meaning and idea, the connection of it with the current events is rather random. The fact that there are only women on the image and the two of them standing uneasy, is the first connection with the fact that this year the “Feminine Mystique” has just come out resulting in the rise of the second wave of feminism. More complaints and report about inequality of the workplace, sexual liberation and gender
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equality had started to come onto the surface and women were trying to “grasp” onto a world that was rapidly changing for them.
Kitchen Debate, Moscow, 1959
The image was taken in 1959 during The American National Exhibit in Moscow. The main characters; the then US Vice President Nixon and the chief of The Soviet Union Nikita Khrushchev. The image is one of the most iconic images of Erwitt, which later created a huge controversy because it was used to give the illusion of a strong and tough Nixon, standing up to the Soviets, which was later used for his presidential campaign. The truth was revealed after Erwitt published a contact sheet showing the picture before and after this image was taken, as he says “But how pictures can lie. The illusion is one of Nixon standing up to the Soviets, where the reality is an argument about cabbage soup versus red meat.” revealing that Nixon was rather friendly and talkative despite the heat of the conversation about which country had more “money”, and the merits of capitalism(from Nixon’s side) and communism(Nikita’s side), in such a crowded space. The ability of Erwitt to capture that exact moment in the middle of a room packed with photographers and other people is unique, and the combination of black and white film give a more realistic and dramatic view.
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ROOM 2: EUROPEANS
The second room exhibits the work of European street photographers, Martin Parr from United Kingdom and Henri Cartier-Bresson from France. Work of two of Martin Parr’s projects, the “Last Resort”and “Small Word”, from which the first one depicts the impact of political and social changes on the middle class of UK and the second one the tourism and the globalisation will be exhibited. The second photographer that will be exhibited. Henri Cartier-Bresson, is the ‘father’ of street photography, and some of the most famous images of his taken all around the word will be present in this exhibition.
Martin Parr
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New Brighton, Liverpool, England, 1983-1986
During a period of nearly a decade, Parr travelled around many different British cities. This picture was taken in New Brighton, a small town near Liverpool which, during the 80s and 90s was a popular seaside resort. During weekends it would be overcrowded by an economically depressed working class. Monetarism, the economic policy followed by then Prime Minister Margaret Thatcher in the 80s, led the country in recession and caused a great division between North and South. The lack of job opportunities up north due to mine closure meant that people were desperate. In liverpool there had been riots and unrest as a result of the current situations. Through his work Parr tries to depict the British life of working class during that very hard era under the tough policies and extremely high taxes. Although Parr did not use to go to “trashy seaside resort” like New Brighton he bought a house near and attracted by the life and the opportunities this place could offer he decided to start a photographic project on it. The use of a rangefinder camera and flash , “adds a surreal touch and somehow that makes it more real. It is hyperreal, in a sense.”
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Leaning Tower of Pisa, 1995
The image is part of 1995 Parr’s collection “Small World”, where Parr travelled all around the world trying to break down the myths on which the tourism industry is built. The photograph was taken in the city of Pisa, one of the most famous attractions, the leaning tower of Pisa. Parr tries to capture the popular attractions from another angle than those commonly seen in tourist attraction brochures and magazines. As Martin Parr says “We are surrounded by propaganda, whether it is in travel supplements or holiday brochures or advertising. I just show things as I see them”. Someone could say his effort, to “destroy” the “dream” of Tourism the western civilization has created; that of friendly local people, undiscovered peaceful spots, authentic cafe, traditional shops and non-overcrowded attractions, is great. The tension of tourists to recreate those myths and follow up with this propaganda of the tourist offices is depicted pleasantly in the image.
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Kleine Scheidegg, Switzerland, 1994
This image is also part of the “Small World” series taken in 1994 in Kleine Scheidegg, a small mountain pass in the Swiss Alps mostly remote till the 1830s, when it was first introduced to the world of tourism with the opening of hotels. The time Parr visited it was at its peak with many tourists roaming the ski resorts on their winter break. The image is highly focused on the main object, a stand with postal cards of the mountain views standing right in the middle of the ski arena. As most of Parr’s work behind the very banal and visually mundane there is a deeper meaning. The propaganda of goods consumption with the empowerment of advertisement is depicted in Parr’s image in a more indirect way, always giving space to the audience to interpret it differently according to the experiences and personality of each individual. The combination of white background and clear and crisp colours make the image more visually attractive and the message more easily visible.
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Henri Cartier-Bresson
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The Var department, Hyères, Paris, 1932
This picture was taken in Hyeres, Paris and is part of Cartier-Bresson’s extended project and first book ‘Decisive Moment’, a concept made by him and refers to capturing an event that is ephemeral and spontaneous, where the image represents the essence of the event itself. There is not much of history or ideology behind most of Henri-Cartier work as he does not try to capture the most meaningful image but the most eye-catching and greatly composed. In his images Cartier-Bresson likes to take pleasure with shapes, shadows and geometry. His image is geometrically composed with the exposed figure on the bike and the zigzagging staircase, which in combination with the low exposed and silver gelatin printing gives a more rogue and harsh texture. As he states his main “trick” to take images is to stay in a place for as long as needed and when the time, composition and the objects of the image are in the right position then click the shutter in these few fractions of seconds and create a piece of art, unique than the rest, “an individual thought”. For its time, Decisive Moment and the idea of it was something primitive and not widely accepted as a form of art.
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“The idea of that maybe the world was not ready for something like that”. His work is considered today a historical artefact, with master it’s founder, Henri Cartier-Bresson, and belongs to a photographic time before even Robert Frank and William Eggleston (Sean O’Hagan, The Guardian).
Children playing in Ruins, Seville, 1933
The image was taken in the ruins of a building in Seville, in southern Spain. The background history behind the images lies back into when the Civil War broke out, and Seville was one of the first one to be fired, with parts if the city to be in ruins and the people of Seville in poverty and deprivation, and that can be seen by the clothes of the children and their shoes. Cartier ability to combine different emotions, the innocence and joyfulness on children faces and the anger and the resentment of the crimes of war victim of which are the children, is distinctive and noteworthy.The picture is taken with a 35mm Leica camera and the black and white film is what makes the image more powerful due to the high contrast of the children and the shadows in comparison to the white walls. The frame he chooses to use (a wall with a huge hole) and the great depth of field he creates by placing the children along the corridor is what makes the photograph iconic. Although it might seem that the image is staged, at the same time, the motion of the children at the back who keep playing despite the presence of the photographer makes it a complex decisive moment of its own kind.
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Behind The Gare Saint Lazare, Paris, 1932
The image was taken behind the station Saint Lazare in Paris, in 1932. It was another usual day for Cartier-Bresson waiting behind a fence with his lens strapped to a hole, waiting for the right instant to take his decisive moment. A few minutes later something was about to happen that would change his life and would make him a household name in the world of photography. A businessman is running towards a puddle onto a broken and decayed ladder. Bresson then presses his second on exactly the fraction of second before the man foot touches the water, and creates a masterpiece. He writes history. The photographer immortalizes a flying action, he freezes time. The black and white of the image and the shadows created by the film in combination with the crystal clear water and the perfect reflection is what make this image extraordinary. The future of the man? Uncertain; an answer, not even the photographer can’t answer. The uncertainty of the man’s future, it could be said, that it links to the general uncertainty predominating in Europe due to the Great Depression as a result of the Wall Street Crash of 1929, which led to increase in unemployment rates in many European countries and the greatest economic crisis of the modern world.
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ROOM 3: ASIANS
The third room features work from two Asian photographers, one Indian (Raghubir Singh), and one Chinese (Fan Ho). Raghubir mainly photographed all around India as a street-documentary photographer working for magazines such as National Geographic, while Fan Ho focused on photographing in the streets of Hong Kong for personal exhibitions. Both photographers have been praised for their work during the years and they are considered masters of two different types and techniques of photography in their countries, Singh in colour photography and Ho in black and white photography and silver gelatin print.
Raghubir Singh
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Pavement Mirror Shop, West Bengal, 1991
The image displayed was taken in the streets of West Bengal in 1991 opposite a mirror shop. The vibrant colours and high contrast, the trademark of Raghubir photography. His greater photographic idol, who he met and became really close friends with, Henri Cartier-Bresson, inspired him in a way that words cannot exactly describe. Although he did not photograph in black and white as Bresson because as he says “To see India mono chromatically, is to miss it all together”, he expressed through his images deeper meanings than just plain street photographs portray social issues such as poverty and natural disasters. The image is a good example of active framing, where the photo begins at the edges and works its way towards the middle. The image portrays the busy city of Bengal through the composition of many mirrors, many different fragments of life, of which, one of them is the photographers as we can see in the top middle mirror, in the image.
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Below the Howrah Bridge, West Bengal, 1968
This image was taken In 1968 in the city of Calcutta in West Bengal. It portrays a Marwari bride with a group of relatives following them, after performing wedding rites on the banks of river Ganges, the most sacred river of Hindu. Despite the mist in the air and the dark sky the photographer still manages to transfer the cheerfulness of such an event with the vibrant colours of the clothes of the wedding participants. The juxtaposition of the bridge of Howrah which mark of the colonial period of India with the poor children on the right staring at the ceremony and the new social realities represented by the rich wedding ceremony is greatly depicted throughout the image. Also, the coexistence of two different social classes in the same space using the same Sacred River, for a spiritual rite and as a mean for washing the goods, is a main feature in the image.
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Pedestrians, Kemp's Corner, Mumbai, 1989
The image was taken during the summer season in 1989 in Kemps Corner in Mumbai inside a shop. The colours and light in the image convey the hot summer of India. The angle he chooses to photograph, from inside a shop, taking an external part in the events of the outside world, demonstrates photographic techniques that recall work of American street photographers such as Lee Friedlander and Garry Winogrand, which made him a pioneer in the field of photography in India. Although Raghubir had been criticized for using bright and vibrant colours to “glamorize” the poverty and the dreadful conditions in India he stated that the true colours and liveliness of this country would not be possible to captured with black and white photography, and that is why his entire life he never gave up on his devotion to colour photography. The image is divided into three main sections by the glass of the shop windows; showing the poor working class in the left side with a man holding a big pile of clothes on the top of his head, the poor but respected class of the elder people in the middle showing an old lady wearing casual clothes and the rich and privileged class portrayed
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by a beautifully and well-dressed lady on the right side of the image wearing a blue dress. Raghubir depicted the poverty and the social inequality throughout his photography for many years, although he came from an aristocratic Rajput family, which he saw financially collapse after the Independence from the British Raj.
Fan Ho
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Construction Site, Hong Kong, 1957
This image was taken in Hong Kong in 1957, nine years after he and his family settled in the city. The main location of his photography was his favourite city, the city he grew up in and loved the most, Hong Kong. As he says “In my memory, there has always been a deep yearning of Hong Kong. I particularly miss the location I like to photograph the most” (The Pottinger.com). After the Japanese invasion of China, the city of Hong Kong was left in poverty and despair in the combination of the arrival of many refugees in the city. This picture was taken at a construction site in central Hong Kong, using a Rolleiflex, the camera he used his whole life. He also used the technique of double exposure having a second layer on top of his original more faded and low in opacity. The low exposed figures can be easily seen although not their faces as Fan Ho’s photography does not go onto a personal level but it is a documentation of the everyday life of a chaotic city such as Hong Kong.
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World Upside Down, Hong Kong, 1960
Ho went all around Hong Kong to capture life in every corner. Ho’s inspiration was, exploring and photographing every bit of this amazing and bustling city from different angles and different views. This picture was taken in 1960 in the early morning when the sun was just coming out (The preferred time of Fan Ho to photograph) and the city was not that crowded and packed with tourists and the ‘masses’, as he used to say. The picture was taken from the top of a bridge where Ho would sit and wait for the right moment or even revisit the place to take the right image “I usually find a location and stake the place out for a while. Many of my photographs are shot in the same place at different times of the day and year”. The upside down image and as the title is called “World Upside Down”, with the high contrast shadows and manipulation of light, the shadows come to life and we see a parallel world that exists simultaneously with the real one. His use of light, shadows and smoke are what make his work unique and exceptional. He is a master of black and white film, something he never gave up as he believes that black and white film truly expresses the era he photographed and the city he fell in love with.
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Inferno, Hong Kong, 1962
This image was taken in a train station early in the morning just when the sun was coming out and there were only a few people. Although the city was really busy Fan Ho managed to make it seem like empty focusing on individual objects, enhanced by his dramatic use of light. The ability of Ho to freeze the movement and the life in an image while bringing up a nostalgic and dark Hong Kong offering ‘a seductive fantasy to Hong Kong’s inhabitants, that of loneliness’ is what made him a distinctive artist and awarded as one of the top ten photographers of all times by the American Photographic Society.
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Conclusion:
The research of street photography deepened my general knowledge on the top photographers of our past century, but also helped me understand the method and structure of taking a photograph. The techniques used by some of them made me interested in exploring various techniques and methods which I have never even heard before. I could say that my Practical projects reflect the ideas and methods I was taught during the process of researching this type of photography and helped me better understand the importance of the patience and other skills a photographer should have. However, my work is different when compared to these photographers which may be due to a lack of experience or cultural and geographical differences. Either way, this still plays a significant part in how I see and interpret photography.
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