STREET SHOOTING

Explore the use of the accidental in a close urban environment,

possibilities for shooting in an intuitive, quick and fluid way.

Embrace the accidental, edit for the sublime.

HENRI CARTIER BRESSONITALIAN PHOTOGRAPHER, 1908-2004

“Photographers deal in things which are continually vanishing and when they have vanished there is no contrivance on earth which can make them come back again.”

“EYE OF THE CENTURY”• 1908 Born 22 August Palermo, Sicily• 1923 Develops a passionate interest in painting and aspects of

Surrealism.• 1927–28 Studies painting under André Lhote.• 1931 Spends one year in the Ivory Coast, where he takes his first• photographs. Back in Europe, concentrates on photography. Travels• in Europe with André Pieyre de Mandiargues and Leonor Fini.• 1933 Exhibits at the Julien Levy Gallery, New York. His photographs

are• subsequently shown at the Ateneo Club in Madrid. Also published

by• Charles Peignot in Arts et Métiers Graphiques.

• 1934 Spends a year in Mexico with an ethnographic expedition. Exhibits• with Manuel Alvarez Bravo at the Palacio de Bellas Artes de Mexico in• 1935.• 1935 Spends some time in the USA, where he takes his first photographs of• New York and first experiments with film, with Paul Strand.• 1936 Works as second assistant to Jean Renoir on “Une partie de• campagne” (A Day in the Country).• 1937 Directs a documentary on the hospitals of Republican Spain, “Victoire• de la vie” (Return to Life), also a documentary for the Secours• Populaire, “L’Espagne vivra”. Louis Aragon provides him with an• introduction to Regards, where he publishes a number of photographic• reportages, including coverage of the coronation of George VI.• 1939 Joins Jacques Becker and André Zvoboda as an assistant on Jean• Renoir’s “La Règle du jeu” (The Rules of the Game).• 1940 Taken prisoner by the Germans, escapes at his third attempt in• February 1943.• 1943 Works for MNPGD, a secret organization set up to help prisoners and• escapees. For Editions Braun, takes a series of photographic portraits• of writers and artists (Matisse, Picasso, Braque, Bonnard, Claudel,• Rouault etc).• 1944–45 Working as part of a team, photographs the Liberation of Paris.• Directs “Le Retour” (The Return), a documentary on the repatriation of• prisoners of war and detainees.

• 1946 Spends over a year in the USA working on the so-called ‘posthumous’• exhibition of his work, proposed by the Museum of Modern Art in New• York at a time when he was believed to have died in the war. Travels• in the USA with John Malcolm Brinnin.• 1947 With Robert Capa, David Seymour (Chim), William Vandivert and• George Rodger founds the cooperative agency Magnum Photos.• 1948–50 In the Far East for three years, in India for the death of Gandhi, China• for the last six months of the Kuomintang and the first six months of• the People’s Republic and in Indonesia for independence.• 1952–53 Back in Europe.• 1952 His first book, “Images à la sauvette”, cover by Matisse, is published• by Tériade.• 1954 Publication by Robert Delpire of his book on Balinese theatre, “Les• Danses à Bali”, with a text by Antonin Artaud, marking the beginning• of a long collaboration with Delpire. He is the first photographer to be• allowed into the USSR during the period of détente.• 1955 First exhibition in France at the Pavillon de Marsan in the Louvre,• which subsequently travels all over the world. Tériade publishes « Les• Européens », cover by Miró.• 1958–59 Returns to China for three months for the tenth anniversary of the• People’s Republic of China.• 1963 Returns to Mexico for the first time in thirty years, staying for four• months. Life Magazine sends him to Cuba.• 1965 Spends several months travelling in Japan.• 1966 Returns to India. Terminates his active working relationship with• Magnum Photos, although the agency distribution retains his archives.• As before, his photographs are printed by Pictorial Service.

• 1967 Commissioned by IBM to create ‘Man and Machine’. Returns to

India.• 1969-70 Spends a year travelling around France for Reader’s Digest and• publishes a book, “Vive la France”, to accompany the exhibition “En• France” staged at the Grand Palais in 1970. In the USA directs two• documentaries for CBS News.• 1972 Returns to the USSR.• 1975 First exhibition of drawings at the Carlton Gallery, New York.• Concentrates on drawing but continues to practice portrait and• landscape photography.• 1980 Returns to India.• 1987 The Museum of Modern Art, New York, stages the exhibition of• photographs “Henri Cartier-Bresson : The Early Work”.• 1988 The Centre National de la Photographie celebrates his 80th• anniversary.• 2004 Cartier-Bresson dies peacefully on August 3rd in

Montjustin,Provence.

BEHIND SAINT-LAZARE STATION, PARIS, FRANCE, 1932

QUAI SAINT BERNARD, PARIS FRANCE 1932

HENRY MATISSE

BRUCE DAVIDSON

“I don’t consider myself a documentary photographer – documentary photographer suggests you just stand back, that you’re not in the picture, you’re just recording. I am in the picture, believe me. I am in the picture but I am not the picture”

Bruce Davidson began photography at the age of ten in Oak Park, Illinois. In 1947, at the age of 16, he won his first prize in the Kodak National High School Competition. He went on to attend The Rochester Institute of Technology and Yale University. After military service in 1957, he worked as a freelance photographer for Life Magazine and in 1958, became a member of Magnum Photos, the international photography agency.

Davidson continued to photograph extensively from 1958 to 1965, creating such bodies of work as "The Dwarf", "Brooklyn Gang", "England/Scotland" and "The Civil Rights Movement". He received a Guggenheim Fellowship in 1962 to document youth in the south during the civil rights movement. The work included the cities of Selma, Montgomery and Birmingham, Alabama, as well as an earlier story on the Freedom Riders. In 1963, the Museum of Modern Art in New York presented his work in a "one man" show that included, among others, these historically important images.

In 1966 he was awarded the first grant for photography from the National Endowment for the Arts, and spent two years documenting one block in East Harlem. This work was published by Harvard University Press in 1970 under the title "East 100th Street" and became a solo exhibition at the Museum of Modern Art in New York that same year.

Bruce Davidson is a 1998 recipient of an Open Society Institute Individual Fellowship and was awarded the Lucie Award for Outstanding Achievement in Documentary Photography. He continues to work as an editorial photographer and a comprehensive documentarian. His work appears regularly in publications all over the world.

He lives in New York with his wife and has two grown daughters.

GARRY WINOGRAND

“The true business of photography is to capture a bit of reality (whatever that is) on film.”

WORLD’S FAIR, NEW YORK, 1964

UTAH, 1964

LOS ANGELES, 1964

AMERICAN LEGION CONFERENCE, DALLAS, TEXAS 1964

LOS ANGELES, CALIFORNIA 1969

LEE FRIEDLANDER

“It fascinates me that there is a variety of feeling about what I do. I’m not a premeditative photographer. I see a picture and I make it. If I had a chance, I’d be out shooting all the time. You don’t have to go looking for pictures. The material is generous. You go out and the pictures are staring at you.”

GARRY WINOGRAND, 1957

BOY IN WINDOW, BALTIMORE, 1962

AKRON, OH PLATE 13 FROM “FACTORY VALLEYS”, 1980

WALKER EVANS

“Stare. It is the way to educate your eye, and more. Stare, pry, listen, eavesdrop. Die knowing something. You are not here long.”

COUPLE AT CONEY ISLAND, NEW YORK, 1928

42ND ST., 1929

CITY LUNCH COUNTER, 1929

TORN MOVIE POSTER, 1931

ANDRE KERTESZ

“Everything is a subject. Every subject has a rhythm. To feel it is the raison d'être. The photograph is a fixed moment of such a raison d'être, which lives on in itself.”

WANDERING VIOLINIST, ABONY, HUNGARY, 1921

MEUDON, PARIS, 1928

NEW YORK, 1966

LISSETTE MODEL

“... photography is an art form which means: human beings expressing their understanding of and connection with life, themselves, and other human beings.”

GAMBLER, FRENCH RIVIERA, 1937

FASHION SHOW, HOTEL PIERRE NEW YORK, 1940-46

WE MOURN OUR LOSS, 1945

HELEN LEVITT

"And I decided I should take pictures of working class people and contribute to the movements; Whatever movements there were -- Socialism, Communism, whatever was happening. And then I saw pictures of Cartier Bresson, and realized that photography could be an art -- and that made me ambitious."

NEW YORK, 1940

NEW YORK, 1942

NEW YORK, 1945