RESEARCH FOR ASSIGNMENT 3
I had already researched some street photographers for Assignment 2, in particular Alex Webb, Garry Winogrand and William Klein, as well as reading tips from Eric Kim (see link). I have researched Henri Cartier Bresson and Robert Frank during this project’s exercises and additionally investigated these photographer’s to further broaden my view.
Additional research in preparation for assignment 3
A French humanistic photo journalist (1912-1993) who was a “deft and amusing observer of the minor aspects of life and culture which define frenchness” (Golden 2003, p 62). He considered that “The marvels of daily life are so exciting; no movie director can arrange the unexpected that you find in the street (Pollack 1977, p 144). His work bridges documentary and art. He was innovative and combined modernism, surrealism and narrative in his photographs.
In 1950 Doisneau created his most recognizable work for Life magazine – Le baiser de l’hôtel de ville (Kiss by the Hôtel de Ville), a photograph of a couple kissing in the Paris streets. Apparently he never liked the photograph, perhaps because he had posed it. More typical Doisneau images of the 1950s are unposed, but still carefully stalked and framed (children, prostitutes or market porters, and other street-dwellers in the unfashionable, parts of Paris). “He would often find a location, or a “stage” as he called it, and lie in wait for many hours for the right action or characters to arrive.” (Lichfield, 2010). He has also been described as a photographer “with an eye on the world and a love for others” (Clark 2016).
A French documentary/commercial photographer with a sense of humour, who has captured some of the defining images of the 20th century. His images may sometimes look simple but on closer inspection are not. A “gently mocking and probing eye that has always preferred to look at life’s absurdities rather than its ills” (Golden 2003, p 74). He has been called a purveyor of the “non-photograph” and “combines a deceptively casual approach with an unrivalled, sometimes gloriously silly, visual sense of wit. (O’ Mahony 2003).
He has a masterful technique although believes that the instinct that creates great photography is casual and uncontrollable. He is widely considered a ‘master’ of the indecisive moment, as he captures the irony and absurd of daily life.
An award-winning New York photographer, who is a “street photographer” in the tradition of Henri Cartier-Bresson and Robert Frank, although now workings exclusively in colour. He was instrumental in changing the attitude toward the use of colour photograph. Speaking to Sean O’ Hagen he said “A lot of what I am looking for is a moment of astonishment,” (Guardian 2012). He believes in “recognition and the power of the frame to put disparate, unrelated things together” (Kim). Meyerowitz often uses juxtaposition or constructs relationships between subjects.
Clark, D (2016) Diverse Doisneau in Amateur Photographer 18.14.16p 30-31.
Golden, R (2003) Masters of Photography. 3rd Ed. London. Goodman.
Kim, E (unknown) 82 lessons from the masters of street photography. E book.
Lichfield, J (2010) Robert Doisneau: A window into the soul of Paris, Independent Sunday 5 December 2010. http://www.independent.co.uk/arts-entertainment/art/features/robert-doisneau-a-window-into-the-soul-of-paris-2151370.html (accessed 30.1.16)
O’ Hagen, S. (2012) Joel Meyerowitz: ‘brilliant mistakes … amazing accidents’. Guardian. http://www.theguardian.com/artanddesign/2012/nov/11/joel-meyerowitz-taking-my-time-interview (accessed 30.1.16).