#Richard Gilden

[weirdlookindog]

Richard Gilden in The Unknown Terror (1957).

[kwebtv]

From the Golden Age of Television

Season 1 Episode 11

Sally - Sally and the Sheikh - NBC - December 1, 1957

Sitcom

Running Time: 30 minutes

Written by Phillip Shuken

Produced by

Directed by William Asher

Stars:

Joan Caulfield as Sally Truesdale

Marion Lorne as Myrtle Banford

Rick Jason as Saladdin

Richard Gilden as Abdul bin Abi

Henry Corden as Street Hawker

Jan Brooks as Patty Lewis

Herschel Bernardi as Arab Henchman

Charles Soldani as Arab Henchman

[lavelled]

unwed for sport.

Quick news: Mocking Haitians as doublespeak isn’t a political statement. The only explanation I have is that pet-eating claims are baseless. Threats to election workers and schools aren’t helpful. Kamala has a focus on issues, which I think is right.

Kensington Fortress: Emily Gold, 17, dancer, jumped off a California bridge last week where she was struck by at least one vehicle before succumbing to injuries. A balanced juxtaposition of the Flippy Floppy Mopsy Topsy versus evil Harry Windsor-isms doesn’t ease such suffering.

In code, bridge means PRINCE.

You kids can’t leave me. I’m on the corner of lettered revenge. I’m also in a machine with middle-aged celebrities. On a technical level, I write in a genteel instructive way like open web browser, that’s a printer, Malware isn’t fashion, that I’m weary. You have to say Hello to all of his cruel internet angles, where he says he found my voice, the powerful voice, meaning prisoner of war, a misattributed first-chair anatomy citation. He should be reclusive, no longer cloaked in victimhood; secluded yet exposed with a reputation covered extensively in his family paperwork that causes terrorism, shootings, stabbings, and suicides.

A Markle press photo was magnified on a house in canned Canada. We know her bedlam has a parking meter. It’s too late after the performative matrimony of two crooks and their labor pacts and confidentiality agreements, pretending to be maligned by racial bias and a blatant disregard for violent fallout. You can’t salvage the reputation of general sleaziness alongside the husband you knew tethered a girl while misleading entire countries of women.

A revered princess publicly divorced in 1996. Find a way for a dog-tag necklace, occasional actor to divorce the man she doesn’t live with.

This couple would still be going on forever through interviews about their loved-up California recreation or their faked victimized trauma or Harry’s chain-link strap desires, if I never wrote these blogs.

For those urging me prematurely: a divorce is the dissolution of a marriage.

I’m a writer, writing about divorce. I know of life beginning and what awaits.

Harry uses Elon’s Twitter and his villainy alter-ego as his Leon or Leonardo, an enemy cruise ship captain. I’m in the pirate edition of hell. On April 1, 2018, a month before his wedding, he wrote as Elon: There are many chapters of bankruptcy and, as critics so rightly pointed out, Tesla has them all, including Chapter 14 and a half, the worst one.

copy and paste text. google. (what did I tell you)

One month before his I Dos, he posted an attempt at sexuality ownership. This is maritime royal Henry admitting his booking passage. The Hollywood signee, on paper containing forceps and my exclusion from everything life has to offer, boasted his leashing. Then, he married someone employed near a Banker. Humanitarian. Tom didn’t even see this stuff. Evil just likes writing it.

If an esteemed actor was diagnosed with caging pedophile disease, he wouldn’t have a lengthy career. Nor would he be allowed to hold court with Princess Kate and help her up the stairs at the Maverick premiere. I think royal security would maintain strict boundaries against a monster.

With twine and a word limit here are suicides due to the quillwork of King Charles, William, Harry, and when dates align, Meg too.

Robin Williams—Richard Jeni—Brody Stevens—Drake Sather—Charles Rocket—David Strickland—Brad Bufanda—Jason Raize—Spalding Gray—Sawyer Sweeten—Dana Plato—Jonathan Brandis—Andrew Koenig—Tommy Page—David Arkin—John Costelloe—Stephen Boss—Rod Lauren—Benjamin Hendrickson—Michael Gilden—L’Wren Scott—Jill Messick—Isabelle Thomas—Cheslie Corrinne Kryst—from UK—Terence Beesley—Lucy Gordon—Peter Bellamy—David Rappaport—Keith Flint—Boon Gould—Fritha Jane Goodey—Angela Scoular—Mark Speight—Keith Emerson—Stephanie Parker—Sam Sarpong—Stella Tennant—Christopher James Hardman—Chantal Akerman, a feminist art icon.

Celebrity children: Cheyenne Brando—Nicholas Hughes—Michael Blosil—Benjamin Keough—Hudson Madsen—Ian Alexander Jr.

Show business has been minimized royally.

K

[spryfilm]

Blu-ray review: “Hurry Sundown” (1967)

“Hurry Sundown” (1967) Drama Running Time: 146 minutes Written by: Horton Foote and Thomas C. Ryan Based on Hurry Sundown by K.B. Gilden Directed by: Otto Preminger Featuring: Michael Caine, Jane Fonda, John Phillip Law, Diahann Carroll, Robert Hooks, Faye Dunaway, Burgess Meredith, Robert Reed, George Kennedy, Frank Converse, Loring Smith, Beah Richards, Madeleine Sherwood, Rex Ingram,…

[gatutor]

Mala Powers-Richard Gilden "Terror desconocido" (The unknown terror) 1957, de Charles Marquis Warren.

[mrbopst]

The Black Klansman

[unikittybigbrightworldau]

OC "Wiki Pages": Butterpearl

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Nicknames (aka): Butterpearl, Marcie, Ella, My Flame (Spike)

Affiliations: Telegram Kids (formerly), School of Visual Arts of Golden Bay (formerly)

Family: Elena (mother), Pierre (father), Dominic (younger brother), Felicia (younger sister), Julien (youngest brother)

Friends: Cream (best friend), Whip, Spike, Waterlily, Shelltop, Cell, Eliza, Manuel

Romantic Interests: Spike (boyfriend)

Enemies: Needle

Color: Golden yellow, light yellow, butter yellow, tan, black

Special Features: Yellow spots, glasses, hair clip from her mother, pearly necklace

Character Influences: Ariel (The Little Mermaid), Puss (Puss in Boots: The Last Wish)

Likes: Film, jewelry, exploring, dancing, the color gold, collecting objects from the surface, documentaries, shiny things

Dislikes: Bee stings, wasp stings, bug bites, seeing disturbing things, having to eat vegetables

Gender: Female

Pronouns: She/her

Birthday: March 23

Quote: “Smile!”

----

Debut: TBA

Headcanon Voice: Ashleigh Ball

----

Marcella Gilden, who is often nicknamed Butterpearl, is one of the supporting characters of Unikitty!: Big Bright World. She is an explorer and filmmaker who lives in the Castle of Marevi. Her voice is raspy and sounds similar to Ashleigh Ball’s normal voice.

----

Physical Appearance: Marcella has golden yellow skin and tan eyes with squared glasses over them. Her hair is short and black with yellow tips and spots. On one side, there is a pale yellow flower-like clip with pearly jewels that are the color of melted butter. She wears a necklace with pearls the same color as this, and her body is black with yellow spots. The fin at the end of her tail is a deep gold color. In her land form, she wears her clip and necklace along with a long-sleeved black dress with the same yellow spots.

Personality: Marcella has a can-do attitude and a confident, intuitive and smart mindset. She's very passionate and emotional. She’s also the most daring of the group, wanting to toss the dice and take chances. She loves creating and editing videos and exploring new places; she documents her findings through film with a handheld video camera. She hopes to direct her own movies someday. She is a kind and loyal friend and lover who supports her loved ones through any situation. Being fearless and determined, she’s the kind of person who would be willing to go out with a bang.

She loves creating and editing videos and exploring new places; she documents her findings through film with a handheld video camera. She likes to show her recorded adventures to her friends. She collects treasures she finds around Marevi and up on the surface. 

Marcella loves discovering new things, but she can venture too far, which can lead to her getting in trouble. She is somewhat reckless about her own needs since she considers the needs of others more often. She's the one in the group that heads up to the surface the most, and she can forget to stay hydrated when she's up there. She struggles with being patient, too, since she wants to get her daily tasks done as fast as possible so she can go have fun afterwards. 

----

Trivia

When she’s on land, Marcella sometimes forgets to stay hydrated. 

Butterpearl’s species of fish is fictitious.

Coincidentally, she looks similar to the gold nugget pleco, an armored catfish that lives in the Amazon river system.

Her treasure collection consists of jewels, coins, and items she found lying around on the beach that she’s holding on to for the time being.

She actually has a missing paperclip of Richard’s. 

Her curiosity, spirit and courage is inspired by Ariel from The Little Mermaid. 

Swanna and Butterpearl are similar because they both like to explore. However, they do it differently.  

Butterpearl first met Cream when he was a kid.  

She first met Waterlily and Shelltop when her mother started designing jewelry for the king and queen. She met Spike later on.

Her favorite drink is mango juice. 

Her birthday is 5 days before Pepper’s and Jezabat’s. 

Her surname is based on the word gilded, which means that something is covered in or tinted with gold.

Marcella is 22 years old. 

She and Spike have been dating for roughly 2 years. 

Like Pepper, some versions of Big Bright World in other languages don’t use Butterpearl’s nickname.

In the Greek version, Marcella's nickname isn't used while Jessica's is.

The reason she nicknames herself the way she does is because she’s always thought that her spots look like little buttery pearls. According to her, the butter part might come from how much she loves her parents’ cooking. 

Her hair clip and necklace were designed by her mother, Elena, who designed jewelry for each of her children.

----

In Other Languages

Arabic: مارسيلا / "Marsila" (Marcela)

Spanish: Marcela 

German: Butterperle

Swedish: Butterpearl

Italian: Marcella

Swahili: Marcella 

Portuguese: Marcela

Korean: 버터펄은 / "Butterpuleun"

Japanese: バターパール / "Bataparu"

Chinese: 金色珍珠 / "Jīnsè Zhēnzhū" (Gold Pearl)

Polish: Złota Perła

Greek: Μαρτσέλα / “Martséla” 

French: Butterpearl

Russian: Марселла / "Marcella"

Hindi: मक्खन मोती / "Makkhan Moti" (Butter Beads)

Thai: ไข่มุกเนย / "Kimuknay" (Butter Pearls)

Turkish: Altın İnci

[princesssarisa]

Top 12 Snow Whites, Wicked Queens, Princes, and Seven Dwarfs

These are my favorites of all the leading performers in the various screen adaptations of Snow White. I've listed them in chronological order because it's too hard to rank them in exact order of preference.

Maybe later I'll post exactly what I like about each of them, as well as the names of the "honorable mentions," whom I also liked in the roles but don't rank quite as highly as these people.

Snow White

*Marguerite Clark (1916 silent film)

*Disney animation/voice of Adriana Caselotti (Snow White and the Seven Dwarfs, 1937)

*Carol Heiss (Snow White and the Three Stooges, 1961)

*Zeynep Degirmencioglu (1970 Turkish film)

*Anna Jo Trowbridge (Seattle Children's Theatre, 1987)

*Nicola Stapleton/Sarah Patterson (Cannon Movie Tales, 1987)

*Nippon Animation/voice of Sakiko Tamagawa (Grimm's Fairy Tale Classics, 1989)

*Natalie Minko (Schneewittchen und das Geheimnis der Zwerge, 1992)

*Tatsunoko Productions animation/voice of Yuri Amano (The Legend of Snow White, 1994)

*Laura Berlin (Sechs auf einen Streich, 2009)

*Lily Collins (Mirror, Mirror, 2012)

*Tijan Marei (Märchenperlen: Schneewittchen und der Zauber der Zwerge, 2019)

The Queen

*Disney animation/voice of Lucille La Verne (Snow White and the Seven Dwarfs, 1937)

*Patricia Medina (Snow White and the Three Stooges, 1961)

*Suna Selen (1970 Turkish film)

*Herta Kravina (1971 Swiss/German short)

*Vanessa Redgrave (Faerie Tale Theatre, 1987)

*Diana Rigg (Cannon Movie Tales, 1987)

*Nippon Animation/voice of Kazue Komiya (Grimm's Fairy Tale Classics, 1989)

*Gudrun Landgrebe (Schneewittchen und das Geheimnis der Zwerge, 1992)

*Miranda Richardson (Snow White: The Fairest of Them All, 2001)

*Sonja Kirchberger (Sechs auf einen Streich, 2009)

*Charlize Theron (Snow White and the Huntsman, 2012)

*Nadeshda Brennicke (Märchenperlen: Schneewittchen und der Zauber der Zwerge, 2019)

The Prince

*Creighton Hale (1916 silent film)

*Disney animation/voice of Harry Stockwell (Snow White and the Seven Dwarfs, 1937)

*Edson Stroll (Snow White and the Three Stooges, 1961)

*Richard Browne (Snow White Live at Radio City Music Hall, 1980)

*Rex Smith (Faerie Tale Theatre, 1984)

*James Ian Wright (Cannon Movie Tales, 1987)

*Alessandro Gassmann (Schneewittchen und das Geheimnis der Zwerge, 1992)

*Tatsunoko Productions animation/voice of Takehito Koyasu (The Legend of Snow White, 1994)

*Nicolás Artajo-Kwasniewski (Sechs auf einen Streich, 2009)

*Jamie Thomas King (Grimm's Snow White, 2012)

*Locus Corporation animation/voice of Sam Claflin (Red Shoes and the Seven Dwarfs, 2019)

*Ludwig Simon (Märchenperlen: Schneewittchen und der Zauber der Zwerge, 2019)

The Seven Dwarfs

*Disney animation/voices of Roy Atwell, Pinto Colvig, Otis Harlan, Billy Gilbert and Scotty Mattraw (Snow White and the Seven Dwarfs, 1937)

*Arthur Reppert, Jochen Köppel, Georg Irmer, Fred Delmare, Heinz Scholz, Willi Scholz and Horst Jonischkan (Schneewittchen, 1961)

*Mr. Magoo/voice of Jim Backus (The Famous Adventures of Mr. Magoo: Little Snow White, 1965)

*Billy Curtis, Phil Fondacaro, Daniel Frishman, Kevin Thompson, Lou Carry, Peter Risch and Tony Cox (Faerie Tale Theatre, 1984)

*Douglas R. Mumaw, Floyd van Buskirk, Peggy Platt, David Whitehead, Edward Christian, Sena Merrill and Jeanne Lee (Seattle Children's Theatre, 1987)

*Billy Barty, Mike Edmonds, Ricardo Gil, Malcolm Dixon, Gary Friedkin, Arturo Gil and Tony Cooper (Cannon Movie Tales, 1987)

*Iwan Sabijak, Igor Sanikow, Nikolai Misyura, Atka Janousková, Imre Schnellert, Janos Petrowski, Atilla Vega and Sándor Köleséri (Schneewittchen und das Geheimnis der Zwerge, 1992)

*Tatsunoko Productions animation/voices of Hiroshi Naka, Junichi Sugawara, Nobuyuki Furuta, Kozo Shioya, Katsume Suzuki, Wataru Takagi and Tetsuya Iwanaga (The Legend of Snow White, 1994)

*Warwick Davis, Michael J. Anderson, Michael Gilden, Mark J. Trombino, Penny Blake, Martin Klebba and Vincent Schiavelli (Snow White: The Fairest of Them All, 2001)

*Danny Woodburn, Martin Klebba, Sebastian Saraceno, Jordan Prentice, Mark Povinelli, Joe Gnoffo and Ronald Lee Clark (Mirror, Mirror, 2019)

*Locus Corporation animation/voices of Sam Claflin, Simon Kassianides, Frederik Hamel, Nolan North and Frank Todaro (Red Shoes and the Seven Dwarfs, 2019)

*Peter Brownbill, Cem Aydin, Peter Gatzweiler, Jona Bergander, Pavel Ponocny, Michal Túma and Mick Morris Mehnert (Märchenperlen: Schneewittchen und der Zauber der Zwerge, 2019)

@ariel-seagull-wings, @superkingofpriderock, @astrangechoiceoffavourites

[rafaelroncato]

This Land / Identity / Visual Reference

Participating Artists: Dawoud Bey | Guillermo Galindo | Bruce Gilden | Jim Goldberg | Katy Grannan | An-My Lê | Richard Misrach | James Nares | Paolo Pellegrin | Daniel Postaer | Alessandra Sanguinetti | Bryan Schutmaat | Alec Soth | Deanna Templeton | Ed Templeton | Brian Ulrich | Corine Vermeulen | Donovan Wylie

[shortstackadr]

Anatomy of a Scene

I chose to watch The Piano from list A (Dramas) and the Black Klansman from list B (Comedies). I watched the trailers for each and every movie listed, but these two films interested me the most.

The Piano is a film written and directed by Jane Campion in 1993. This drama starred Holly Hunter, Harvey Keitel, Sam Neill, and Anna Paquin.  The film focuses on a mute Scottish woman who travels to a remote part of New Zealand with her young daughter after her arranged marriage to a frontiersman.

It is a story of shyness, repression, and loneliness; of a woman who will not speak, a man who cannot listen, and a willful little girl who causes mischief and pretends she didn't mean to.

At the end of the 1993 movie, Holly Hunter's mute character Ada McGrath throws herself into the sea tied to her beloved piano. But rather than allow herself to drown, she fights back to the surface and goes on to have a settled life with her daughter, Flora, and lover Baines, played by Harvey Keitel.

The Black Klansman, originally released in 1966 under the name Crossed the Color Line, is a low-budget feature film directed by Ted V. Mikels and starring Richard Gilden, Rima Kutner, Harry Lovejoy, Max Julien, Jakie Deslonde, and James McEachin.

During the civil rights movement, an African-American man, Jerry Ellsworth (Richard Gilden, a white actor), is a Los Angeles jazz musician with a white girlfriend. Meanwhile, in an Alabama diner, a young black man attempts to exercise his civil rights by sitting at a local diner. When the Ku Klux Klan learn of this, they firebomb a church, killing Jerry's daughter. By way of revenge, Jerry moves to Alabama to infiltrate the group responsible for his daughter's death. Jerry dons his disguise and becomes a member of the inner circle, befriending the local leader and his daughter, and soon exacts his revenge.

[queenebooklibrary]

DOWNLOAD Magnum Streetwise READ ONLINE

DOWNLOAD Magnum Streetwise READ ONLINE

Magnum Streetwise

[PDF] Download Magnum Streetwise Ebook | READ ONLINE

Author : Magnum Photos Publisher : ThamesHudson ISBN : 0500545073 Publication Date : 2019-11-12 Language : Pages : 352

To Download or Read this book, click link below:

http://read.ebookcollection.space/?book=0500545073

Pdf free^^

Synopsis : DOWNLOAD Magnum Streetwise READ ONLINE

Magnum Streetwise is the definitive collection of street photography from Magnum Photos, and an unparalleled opportunity to follow in the footsteps of the true greats of the genre. An essential addition to the street photography canon, this volume showcases hidden gems alongside many of street photography’s most famous images.Magnum photographers such as Henri Cartier-Bresson pioneered modern concepts of street photography before the term was even coined. A rich seam of street photography runs through the heart of Magnum to this day, both in the work of recognized masters of the genre—including Elliott Erwitt, Martin Parr, Bruce Gilden, and Richard Kalvar—and in the work of those who may not think of themselves as street photographers, despite their powerful influence on the current generation of budding artists. Magnum Streetwise is a true visual feast, interleaving insightful text and anecdotes within an intuitive blend of photographer- and theme-focused sections. Ambitious in scope and democratic in nature, Magnum Streetwise is an unmissable tour through the photographs and practices that have helped define what street photography is—and what it can be.

[homersoul]

摄影修行2020

这是一篇年度总结。

年度总��有很多种写法。总结这一年的大事，从影响世界的未来历史，到改变人生轨迹的转折，高屋建瓴地写成编年体史书，是一种写法；或者是从去年的目标开始切入，对自己这不起眼的人生进行毫无意义但事无巨细的总结，其中充满了各式虚假的悔恨和毫无约束力的大话。

我想试试的，是第三种写法。只写一个侧面。

这个侧面，是摄影。

我想，很多人一生中都会那种顿悟的时刻。某个瞬间，突然对某事产生浓厚的兴趣，就像打开任督二脉，浑身豁然开朗，开始乐此不疲地投入。摄影，就是一件你会顿悟的事。

摄影爱好者是个不小的群体。以至于“老法师”都成了一种亚文化名词，专指退休以后沉迷摄影的老年人。很遗憾，虽然我才三十出头，也不幸堕入“老法师”的行列。我也相信，所有摄影爱好者都像我一样，经历过某个顿悟摄影的时刻。

顿悟之后的日子，就是修行。

尼康Z6，我的第一款全画幅相机

为了记录欧洲的旅行，我和陶老师商量买一台相机。于是2016年，我们拥有了理光 GR2 。我们带它去了欧洲，巴黎和罗马，然后去了日本，京都、东京、镰仓和奈良，还用它拍摄了自己的婚纱照。凭着一开始的热情，以及瞎摸索，理光GR 2拍出的照片都还挺满意。

像很多人一样，我基于手机拍照的习惯来操作GR 2，从来没有想过相机的操作逻辑完全不一样。旅行之外，基本很少拿出它，就放在家里吃灰。2019年，身为一名文案，我决定要补足一下画面的短板——从拍照开始。

我开始随身携带 GR 2，阅读摄影公众号，网上搜索摄影学习的文章，浏览摄影论坛。经过大半年的摸索，我做出了一个每个摄影爱好者都必将的决定：升级器材。

���时的目标，是一台可换镜头相机。我认为，GR 2 等效28mm的镜头限制了我的视野，我应该从尝试不同的焦段开始学习。随着做的功课越来越深入，最后决定一步到位，上全画幅无反相机。在索尼、尼康、富士三家之间犹豫了很久，其中甚至打过徕卡的主意，最后在2020年10月26日，购入尼康Z6 和尼克尔Z50mm F1.8 镜头。

以此为标志，我这算是正式步入“老法师”的行列，因而也正是开始了摄影修行之路。

早期的马格南

接下来的内容，我不准备根据时间顺序写作。那是本流水账。我将直接写一些修行的感想。

任何一个摄影爱好者都是从模仿开始。模仿的对象，自然是以摄影大师。摄影领域充满了大师，任何一个敢在社交媒体发照片的人，都敢开班授课；任何一个发表过照片的人，都有人称其为大师。在摄影行业，大师是个通货膨胀极其夸张的称号。

这一年，我还是读了一些大师的。从摄影史上，随意写写我读过的大师吧。

首先是马格南。绕不过的名字。马格南的摄影师可能是最出圈的一群摄影师。亨利·布列松、罗伯特·卡帕等人的大名，我早十几年前就听说了。家里还有一本厚厚的《布列松自传》，当初在南昌花三百块网上书店打折买的，带来了上海，今年还重读了一遍。

马格南的早期名声主要来自新闻摄影的兴盛。二战时期，报业蓬勃发展，催生了新闻摄影师这个行业。谁都不想上战场，但谁都想看看战场上发生了什么。战地记者是极大的荣耀，至今仍然如此。马格南图片社的成立也是基于报业、新闻业和杂志的繁荣之上。

我喜欢布列松早期的作品。他似乎没有拍出什么非常杰出的报道作品，主要的历史地位来自他率先提出了“决定性瞬间”理论，并用于街拍实践中，至今仍然被许多人奉为圭臬。“决定性瞬间”，听起来和打猎很像。埋伏好，瞄准，开枪（按快门），打中就是打中，没中就是没中。

然而“决定性瞬间”还有另一层意义：在生活的某个瞬间，你抓住一张照片，这个被凝固的瞬间从当时的场景中抽离���来，提取出另一个意义。这个意义可能提炼了某个事件，可能暴露了人物的真实瞬间，可能是反映了摄影师的态度，甚至是这张照片与那个场景毫无关系。它的意义从此时此刻、此景此人中抽离出来，变成了另一件事、反映了另一层级的意义。

罗伯特·卡帕和尤金·史密斯，比布列松更能代表早期马格南的风格。他们是新闻摄影的忠实信徒，相信摄影的力量，足以产生撼动世界的影响力。他们也的确做到了。我曾在不同的历史书籍、报纸或者杂志上阅读过“水俣病”事件，尤金·史密斯用摄影揭开了该事件的面貌，改变了历史的进程。

罗伯特·卡帕开创的战地摄影师行业，在二战结束之后，不但没有衰败，反而变得兴盛。越战是一场被摄影师直播的战争，诞生了无数伟大的反战作品，紧接着之后还有阿富汗战争以及世界上各种大大小小的冲突。譬如《阿富汗少女》的作者史蒂夫·麦凯瑞，是其中翘楚。

还有寇德卡，拍摄布拉格之春而闻名的摄影师。离开捷克以后，寇德卡一生的大部分时间都在过流浪汉似的生活，直到晚年定居巴黎，结婚生子。还有布鲁诺·巴贝，今年刚过世，典型的马格南摄影师。他们这一代人的盛年，正值数码摄影诞生之前、35mm胶片的黄金是俄代，摄影是昂贵且专业的领域，发达的纸媒提供了一个庞大的影像消费市场，缔造了马格南图片社和新闻摄影的辉煌。

马格南的今天

马丁·帕尔是个里程碑。他被布列松当面嘲讽。但这不妨碍他成为马格南之中的一员，而且曾担任图片社的主席，甚至主导了马格南的转向。

九十年代开始，战争衰退、数码兴起，新闻摄影逐渐退潮。新闻摄影师跑得再快，也快不过事件当场观众的直接拍摄。曾经兴盛一时的摄影周刊《生活》杂志也退出纸媒（电影《白日梦想家》的背景就是《生活》杂志最后一期封面拍摄的故事。），情色图片杂志《花花公子》转型为一个品牌。作为新闻图片社，马格南的根基受到动摇。

马丁·帕尔拍摄的不是即时发生的新闻，而是一个个视觉项目。譬如英国度假海滩的众生相、世界各地的游客照……你看不到照片里正在发生什么改写历史、打破世界纪录之类的新闻，而是一连串的视觉纪录，并辅以统一的视觉风格以及淡��的讽刺。

马丁·帕尔是个工作狂，出版了很多画册，每一本画册都有统一的主题，适当编排，讲述故事。自他以后，马格南从新闻摄影师的殿堂，逐渐变成当代艺术摄影的一员。他们不再是为报纸、杂志拍摄，而是为美术馆、摄影出版社拍摄，通过选题、拍摄和编辑，最后成书。

马丁·帕尔的出现打破了马格南的传统。他还担任了三年马格南图片社主席，在此期间他不遗余力推动这家图片社的转型，拥抱当下的传播环境——例如开设ins账号。

近年当红的 Alec Soth 就是典型的当代马格南摄影师。他曾经跑过新闻，拍过明尼阿波利斯的一些开业、剪彩活动，这些东西只让他厌恶。成名作《眠于密西西比河畔》，是他开车载着8

10的大画幅相机，沿着密西西比河旅行拍摄的一组照片，有人物肖像和风景，抓住了美国中西部内陆地区的孤独、凄冷和无奈。他还有《狗日子》、《尼亚加拉》、《我知道你的心跳动多剧烈》等摄影书，并且有自己的摄影出版小工作室“小棕蘑菇”，以及INS账号。

Bruce Gilden 是个纽约的街拍摄影师。纽约可能是世界上街拍摄影师密度最大的城市，而Bruce Gilden是其中最狂野的那位。他用徕卡相机和28mm镜头，近距离使用闪光灯对人脸拍摄，完全抛弃了早期马格南“尊重人的存在”的信条。

西班牙摄影师 Cristina De Middel 去年来过中国，在复旦艺术中心有一次免费的演讲。我当时去看了，没看明白。她介绍了她基于摄影项目的工作方式，以及几个作品。她的部分摄影作品比Alec Soth还更为开放，基本摒弃了拍摄现实的方式，而是走上了创造影像的道路。例如《宇航员》，她用影像重现了“赞比亚太空计划”。

今天的马格南图片社，事实上已经转型艺术摄影的代理机构。新闻摄影逐渐远去，新闻摄影记者们渐渐不再需要一个精英机构了。

作为当代艺术的摄影

聊到了艺术摄影。

2020年，我读过最有意思的一本书是《作为当代艺术的照片》。作者是个策展人，非常了解当代艺术摄影的市场。这本书将当代艺术摄影分为八大类型，按照他的思路列出了许多当代艺术摄影师。

该书初版于2004年，2014年第三次修订并翻译为中文版。这本书基本概述了当代艺术摄影市场的概况。我不想复述它，只是想聊聊我重点关注的摄影艺术家。

首先是杜塞尔多夫学派。该学派脱胎于德国奥古桑特的“新客观主义”，将类型学应用于摄影领域，主要标志是无表情、大画幅创作。贝歇夫妇是杜塞尔多夫学派的代表人物，他们拍摄了大量欧洲工业区的水塔，一律以大画幅相机、平视的角度拍摄，最后整理为系列作品，并荣获威尼斯艺术双年展的金狮奖。

贝歇夫妇在杜塞尔多夫艺术学院任教，培养了一大批顶尖当代艺术摄影家。例如古斯基，他拍摄的作品画幅巨大，拥有极度丰富的细节和简洁的视觉概念，给人以极大的视觉冲击力。古斯基的大画幅作品有“上帝之眼”的称号，倍受艺术市场追捧，基本上统治了当代艺术摄影拍卖纪录。

托马斯·鲁夫起初拍摄大画幅无表情的肖像，而后探索扔掉照相机，开始对既有影像进行二次创作。另一个同门托马斯·斯特鲁斯在全球探索各类实验室、工业领域的拍摄。还有其他杜塞尔多夫学派的摄影师，基本沿袭了贝歇夫妇开创的理念，从各个方面探索摄影的极限。

美国摄影也很快进入了当代艺术摄影的范畴。早期有F64小组，代表人物安塞尔·亚当斯成为一代风景大师，创立“分区曝光法”进入摄影教材，至今在数码暗房中仍有应用。沃克·埃文斯开创美国公路摄影，至今仍有余响。五十年代，罗伯特·弗兰克从天而降，一本《美国人》改写了摄影史。

《美国人》创作本身，就是艺术基金提供的支持。罗伯特·弗兰克用这笔钱上路，买胶卷，最后拿出了几万张照片，从中挑出了80来张，基于他对美国的印象编撰成书。罗伯特·弗兰克打破了所谓“决定性瞬间”的桎梏，甚至站在了布列松的反面，大大拓展了摄影的叙事功用。所谓摄影，不是一则新闻大标题旁边的配文，也不是杂志上一组漂亮的主题照，而是一组用影像写就的史诗。

《美国人》之后，罗伯特·弗兰克也很难再超越自我，逐渐退隐到其他领域。七十年代，彩色摄影开始攻入艺术殿堂。以史蒂芬·肖尔和威廉·埃格尔斯顿为代表的摄影师登上历史舞台，开创了“新地形摄影”和“新彩色摄影”。我喜欢史蒂芬·肖尔对于构图的理解，他的书《照片的本质》不过是一万来字，其中既有他的观点，也是用他的方式写了一次摄影史。

威廉·埃格尔斯顿不是个健谈的人。他的摄影��了好看，色彩优秀，还有美国南方的忧伤。身为孟菲斯的白人，在六十年代的黑人民权浪潮之后，在公共媒体上呈现失语，在经济上也日渐落后于美国东海岸和西海岸。这种失落是解读埃格尔斯顿彩色影像的一条暗线。

辛迪·舍曼也是从七十年代开始，用摄影表达她的艺术观念：女性、身份以及社会对女性的塑造。辛迪·舍曼是唯一一个能靠近古斯基拍卖纪录的摄影艺术家。前提是她本身是艺术家，她所做的表达是从艺术圈出发，为艺术圈了解。摄影不过是她表达摄影观念的一种手段。

杰夫·沃尔也是如此。他本来是在伦敦学习艺术的学生，依靠一幅大画幅摄影作品，试图对马奈画作进行解构和模仿，从而被艺术界关注。这一类摄影家的作品，基本是在为美术馆创作。

南·戈尔丁正好相反。她进入艺术领域的路径，基本不可复制。她是艺术圈圈外人，也跟主流摄影圈没有区别。她的摄影，出于纯粹的纪录她的生活。她生活在纽约最有活力的街区中，跟一群边缘、年轻、艺术的人为伍，用35mm胶片相机和柯达反转片纪录下她认为值得拍摄的时刻。南·戈尔丁把照片整理为幻灯片，在朋友圈播放，最后受到艺术圈的注意和追捧。

“私摄影”诞生了。与杜塞尔多夫学派无表情、客观的纪录相反，南·戈尔丁呈现了身为人类个体的情绪，用摄影逼近客体的生命体验，让摄影对象和观众产生情绪上的共鸣。《性依赖叙事曲》掀起了巨大的影响，至今仍然连绵不绝。

时尚摄影：稳定的市场

时尚摄影是静态摄影影响巨大的市场之一。尽管这个市场狭隘、保守、封闭、浮华而且高度商业化，但它的需求一直今天颇为稳定。今天，时尚业仍然需要大量的摄影作品，来售卖服装、珠宝和生活方式。

安妮·莱博维茨或许是时尚摄影师的杰出代表。她是少有能够在摄影学术圈、时尚摄影圈和亚文化摄影叙事上自由穿梭的人物。她是苏珊·桑塔格的伴侣，后者以《论摄影》一书奠定摄影学术上绕不开的地位。她为《滚石》杂志拍摄封面，在摇滚音乐成为主流文化之时，拍摄了许多杰作。后来，她进入时尚行业，开始为VOGUE、名利场之类的杂志拍摄封面，也为路易威登之类的品牌拍摄广告。

好莱坞、明星、时尚、酒会、红毯……种种类似的时尚场合，他们需要非常精美的照片，凸显摄影主体希望呈现的美丽。时尚是贩卖浮华和美的行业���摄影师是其中���一员，为其提供包装，与之共谋。

安妮·莱博维茨或许是时尚摄影师中葆有一些艺术家和知识分子气息的少数。其他时尚摄影师完全是时尚工业必不可少的一环。他们用无懈可击的摄影技术，化妆师、造型师以及灯光师一起，帮助时尚行业保持活力。

这个行业的摄影师也有一些杰出的人物。例如Richard Aventon、Helmut Newton、Guy Bourdin等人，他们在人像、静物以及创意方面的不断探索，推动公众对摄影的理解。现在，早期时尚摄影师的技术、创意和观念早已不稀奇了。

时尚业是保守的，警惕艺术观念，渴望新的创意和技术。所以他们需要不断从艺术家汲取灵感。2020年，GUCCI就邀请了 Alec Soth 拍摄一组时尚大片。而之前提到过的南·戈尔丁，她的作品至今仍在为时尚业提供持续不断的灵感。

无论如何我怎么贬低时尚摄影，但不得不承认，时尚业给了摄影师丰厚的报酬、稳定的收入，是个安全的避风港。安妮·莱博维茨的年薪高达200万美元，陈漫、张家诚的收入想必也不低。

日本摄影

终于说到了日本摄影。我需要单列一个章节，聊聊我对日本摄影的理解。

日本摄影是我的入门。它是世界摄影的平行领域，独自以自己的节奏向前发展。日本文化排外，同时也能吸收和融合其他国家的文化因素，发展出独属于自己的文化。

日本拥有世界首屈一指的光学和相机制造工业。尼康、佳能、富士、索尼、适马、理光、宾得以及许多消失了的品牌，共同缔造了日本相机工业的辉煌。虽然伴随着行业的衰退，这些品牌各自面临困境，但日本影像工业的整体实力依然处于世界顶级的位置。

随发达的影像工业而来的，是摄影文化的兴起。

森山大道可能最独一无二的存在。在世界其他地方，很难找到与他近似的存在。世界上拥有无数的街拍摄影师，纽约的威廉·克莱因也对他产生重大的影响，但森山大道几乎持续六十年的创作实践，以及日本文化施加于他身上的影响，令他的风格独树一帜。

森山大道称照相机为“复印机”，他的任务是“复印世界”。这种说法有佛教的影子。“相”一词本就是佛教词汇，意思是外形、形象。世界万相，照相机如何能拍下？所谓摄影，不过是用心相，拍下了世界。

七十年代，“挑衅”之后，森山大道和中平卓马曾经有过争论：摄影究竟是不是代表真相？彼时日本新闻界开始对照片的真实性开始讨论。同一张照片，配上不同的标题，就有截然不同的含义，甚至改写被摄客体的命运。七十年代，中平卓马因为一张照片受到批判和自我怀疑，而森山大道发表了《再见摄影》，然后扔掉照相机，过了一段放荡不羁的日子。

七十年代末，森山大道返回摄影界，带着他的“复印世界”理论，重新走上街道拍照。森山大道的文字表达能力是摄影师里数一数二的。《犬之记忆》和《犬之记忆终章》是我读过最好的关于摄影的文字，其中既有艺术创作的领悟，生命的感慨，也有关于摄影理论的指导。他或许从摄影中找到了答案。

杉本博司也是很会写字的摄影师。在日本摄影师里面，他的作品算少的。不但因为他使用大画幅相机，也因为他本身就是艺术家。摄影是他表达艺术观念的工具。我第一次看杉本博司，是在东京都写真美术馆的《写真的时间》展览上，展出了《剧院》、《远祖》和《海面》系列原作，是入展最多的摄影师之一。

杉本博司对于时间的理解，远远超过了其他摄影师。他把一部两个小时的电影，放进一张照片里（《剧院》系列），或者是想象亘古不变的神是如何看海的，所以拍摄了海面（《海面》系列）；还有为了探索雷电，在暗房拍摄静电；拍摄一支蜡烛燃烧的一生；这些摄影实践，都是在探讨时间不同的维度。日本的摄影师都有极强的佛教观念，杉本博司所表达的时间观念，也能窥见佛教的影子。

荒木经惟是个随波逐流的摄影师。他远不如前面两位那样真诚，总是表现一副纵情声色的样子，用荒诞不经的话语包装他的深情人设。所谓“天才Araki”，本来就是他和摄影出版包装出来的概念。

荒木经惟的技术真的无可挑剔。早期作品《阿幸》获得首届太阳奖。他很快转向情色摄影，可能是因为他真的太喜欢做爱了。一可以放纵感官享受，也可以表达自我，还能收获不菲的收入，这样的工作可真难得。森山大道也应日本《花花公子》之邀拍过一些全裸照片，但很快就停止了持续的情色创作。

如今谈及荒木经惟，总是会提及他的私摄影作品。但是，他其实在大量拍摄商业作品，包括给情色杂志、时尚杂志和商业广告。

荒木经惟发自内心热爱摄影。摄影是他的生命，即是拍到右眼失明，也没法放弃。他拍摄的人妻系列，有种情色类型学（杜塞尔多夫学派）的味道。然而他终究不如前面两位，尽管他也用佛教的观念来包装他的作品，“色空”之类的东西，但终究是肤浅了点。

写了太多昭和时代的摄影师。令和时代，日本摄影师仍然人才辈出，不断涌现出杰出人物。例如上田义彦、滨田英明、奥山由之、川岛小鸟、横浪修、片山真理等诸人。东京都写真美术馆《写真的时间》里，最后收官的展览是川内伦子的作品。现在仍在创作的日本摄影家里，我也最喜欢川内伦子。

关于其他一些人的看法，以后慢慢写吧。

器材

这篇文章比我预料中写得长。不讲究文字，只管写，任他泥沙俱下的记录。写到最后，当然要说说器材。

我当然喜欢折腾器材。就像开头所说，当初入手全画幅相机时，我就比较过很多品牌的器材，最后义无反顾地选择了尼康。

用一句当下摄影爱好者最喜欢说的话，我是“在买得起的前提下买最好的器材”。尼康Z6，正好是当时相比而来、最没有我无法容忍缺点的器材。索尼A73的屏幕太差，无法忍受，佳能的专业微单性能太差，富士性价比太低，而且我对直出要求不高。最后只有尼康了。

尼康Z6+Z50.8和Z35.8 这套系统用了小一年了，唯一略有不满的地方，就是镜头体积和重量如果能更小一点就好了。至于网上所说的视频太差、对焦系统不够好、没有双存储卡之类的缺点，对我来说都不是问题。

我这种入门级的爱好者，现在的摄影器材的确是够用了。但也毋庸置疑，器材是门工具，能推动摄影语言的发展。高速快门让人们看到了凝固的飞鸟，微距镜头让人看到蚂蚁的巢穴，大光圈镜头让夜景如生。20世纪初的摄影师们，多数是有钱人的后代，才能玩得起当时先进的器材，烧得起胶卷。如今相机价格大为降低，但仍然昂贵，譬如徕卡相机，我还是买不起。

去年年底，玩过一段时间朋友的徕卡M240 ，感受了徕卡镜头、黄斑对焦和M系统。那的确是过时了的一套相机系统：高感一塌糊涂，对焦超慢，跟尼康Z6一比，简直是两个时代的相机。

徕卡M系统性能落后，SL系统的重量比尼康还大。虽然徕卡直出照片仍然非常优秀，对于不愿意钻研后期的人仍然有很大的吸引力。但我在财务自由之前，应该不会考虑徕卡系统了。

2020年的另一个收获是入手了两套胶片相机：尼康FE2+ais 35f2 和尼康 F80 + F50.8D。前者是手动胶片机，具有光圈优先功能，后者是发烧友级别的自动胶片单反。拍摄了几十卷胶片以后，非常喜欢那种期待冲洗出来的感觉；也喜欢各种胶片带来的惊喜。但从拍照的方便和掌控性而言，我更喜欢数码。因为有数码后期，其实更能掌控拍照的全过程。

数码后期，其实就是一个暗房。我对比了C1和Lightroom，觉得更加简单的Lightroom适合我。2020年，我开始入门Lightroom的用法。我是个很慢的学习者，经过一年的入门，也要开始了解了光影、色彩的基础理论。

结尾

这篇文章写了这么长，总算到结尾了。

我开始拍照的理由其实很简单，就是记录生活。人生如白驹过隙，时间流速飞快，不经意间很多事情一晃而过，不记录就丢掉了。

结果如你前文所看到的，我一头扎进摄影之中，差点儿把自己搞成摄影的半个研究生。希望我以后可以克制，不必太多深入，不必成为艺术家，不必拍出伟大的照片，记住自己喜欢摄影的初衷，就是记录生活而已。

毕竟除了摄影，生活还有很多面。人生海海，创作无限。归根结底，我不会成为专业摄影师。我是个文案，依靠写作广告谋生。我的生活需要工作，我的人生需要写作。

[movies-derekwinnert]

The Black Whip ** (1956, Hugh Marlowe, Coleen Gray, Adele Mara, Angie Dickinson) - Classic Movie Review 9706

The Black Whip ** (1956, Hugh Marlowe, Coleen Gray, Adele Mara, Angie Dickinson) – Classic Movie Review 9706

Director Charles Marquis Warren’s 1956 black and white Western film The Black Whip stars Hugh Marlowe as former Confederate officer Lorn Crawford, who, along with his brother Dewey Crawford (Richard Gilden), rescues four dance hall girls (Coleen Gray as Jeannie, Angie Dickinson as Sally Morrow, Adele Mara as Ruthie Dawson, and Dorothy Schuyler as Delilah Ware) from a gang of outlaws when their…

[tbsmanchestercollege]

Composition examples

From the top left to top bottom right:

1. Rule of thirds: For this I chose a photograph by landscape photographer, Ansel Adams. Adams used the moon in the right third to create a focal point in an otherwise empty sky.

2. Simplicity: I chose this photograph by William Eggleston as I believe it provides a good example of simplicity in photography. He, using colour and well thought out angles has managed to make a house, some grass and an antenna fill a full frame and look interesting.

3. Texture: For texture I went to Bruce Gildens close up ‘HDR’ work in which he took bright, close flash photos of members of the public. The faces in this series are all very detailed and somewhat overwhelming in colour and clarity.

4. Pattern: For pattern I chose to use a still from Stanley Kubricks; The Shining. This film has plenty of brilliant visuals and one of many is the use of pattern with the hotels corridors and carpets.

5. Symmetry: Again, I chose to use The Shining as this shot illustrates symmetry perfectly and in my own opinion I think its a very hard thing to pull off but this still from the twins scene does it well.

6. Contrast: For contrast I went to William Kleins advertising work in which he tended to use high contrast, grainy black and white films to add a touch of the streets usually associated with his photography to the higher end world of fashion. This shot utilises very black clothing and makeup against white skin and white cigarette smoke.

7. Viewpoint: For Viewpoint I chose to use Annie Liebovitz and her work as a music photographer. This particular shot is a low to the ground photo of Mick Jagger and Keith Richards. I like how her low down angle makes Micks jump look huge and distortion makes Keith look very tall and misshapen.

8. Vivid Colour: Martin Parr’s main asset in photography is his use of vivid colour. Its the first thing that strikes the viewers of his work, often followed by humour and nostalgia.

9. Lead in Lines: For lead-in lines I chose to use Cartier-Bresson’s famous man on a bike photograph. This photo showcases leading lines, diagonals, and something else called ‘The Golden Ratio’.

10. Humour: For humour I chose this photo by Stanley Kubrick. It is quite obvious as to what the humorous element is, compositionally this photo doesn’t have much going for it but due to the humour I am drawn to it.

11. Framing: For framing I chose a photo that Cartier-Bresson took in Spain. This photo frames a group of young boys playing in rubble via a hole in a brick wall. It shows the viewer a wartorn, dilapidated Spain. Incredibly different from the country we know now.

12. Diagonals: For diagonals I chose to use another Kubrick photograph. The diagonals in this are from the tight rope and the man holding the stick. It is an interesting photo also due to the close focal point as well as the trapeze in the distance.

[thebigsell01]

Composition examples

From the top left to top bottom right:

1. Rule of thirds: For this I chose a photograph by landscape photographer, Ansel Adams. Adams used the moon in the right third to create a focal point in an otherwise empty sky. 

2. Simplicity: I chose this photograph by William Eggleston as I believe it provides a good example of simplicity in photography. He, using colour and well thought out angles has managed to make a house, some grass and an antenna fill a full frame and look interesting. 

3. Texture: For texture I went to Bruce Gildens close up ‘HDR’ work in which he took bright, close flash photos of members of the public. The faces in this series are all very detailed and somewhat overwhelming in colour and clarity. 

4. Pattern: For pattern I chose to use a still from Stanley Kubricks; The Shining. This film has plenty of brilliant visuals and one of many is the use of pattern with the hotels corridors and carpets. 

5. Symmetry: Again, I chose to use The Shining as this shot illustrates symmetry perfectly and in my own opinion I think its a very hard thing to pull off but this still from the twins scene does it well. 

6. Contrast: For contrast I went to William Kleins advertising work in which he tended to use high contrast, grainy black and white films to add a touch of the streets usually associated with his photography to the higher end world of fashion. This shot utilises very black clothing and makeup against white skin and white cigarette smoke. 

7. Viewpoint: For Viewpoint I chose to use Annie Liebovitz and her work as a music photographer. This particular shot is a low to the ground photo of Mick Jagger and Keith Richards. I like how her low down angle makes Micks jump look huge and distortion makes Keith look very tall and misshapen. 

8. Vivid Colour: Martin Parr’s main asset in photography is his use of vivid colour. Its the first thing that strikes the viewers of his work, often followed by humour and nostalgia. 

9. Lead in Lines: For lead-in lines I chose to use Cartier-Bresson’s famous man on a bike photograph. This photo showcases leading lines, diagonals, and something else called ‘The Golden Ratio’. 

10. Humour: For humour I chose this photo by Stanley Kubrick. It is quite obvious as to what the humorous element is, compositionally this photo doesn’t have much going for it but due to the humour I am drawn to it. 

11. Framing: For framing I chose a photo that Cartier-Bresson took in Spain. This photo frames a group of young boys playing in rubble via a hole in a brick wall. It shows the viewer a wartorn, dilapidated Spain. Incredibly different from the country we know now. 

12. Diagonals: For diagonals I chose to use another Kubrick photograph. The diagonals in this are from the tight rope and the man holding the stick. It is an interesting photo also due to the close focal point as well as the trapeze in the distance. 

[photomattjames]

<p><h2><strong><font color="#f79646">Defining Street Photography, the Cartier-Bressonian Way</font></strong></h2></p>

Street Photography pioneer Henri Cartier-Bresson has come to define the way the photography industry thinks about the genre. This article draws on sources that explains the way the genre has taken shape.

Defining Street Photography

Of what constitutes “street photography”, as such, there is no clear, single, or absolute definition, even though the term is widely used.

The ambiguity lies in the term “street”. The street can be anywhere in the public realm, indoors or out, where Henri Cartier-Bresson’s original phrase to describe street photographs as images on the run, images a la sauvette, encapsulates ducking and diving, weaving through traffic, or pacing along the pavements. It can occur in a village or a city, or even in a conflict zone. It is evocative.

Richard Kalvar of Magnum Photos describes it as the process of capturing “real people doing real things,” which, for many, is grounded in the candid tradition of this type of photography. The archetypal street photograph engages with individuals and finds a space to represent the street.

By being in the world and discovering things, public spaces give way to chance encounters which are, at their core, the heart of so-called street photography.

It is about “improvising, thinking, responding, dealing with people … discovering pictures in public settings, as distinct from planning pictures … You’re open to the possibilities around you,” as Executive Director of the Aperture Foundation Chris Boot says.

Humanity, society, and architectural forms each describe the presence of the street and what it represents.

The history of photography represented by a variety of approaches does not exemplify one right way as there is no one definition of street photography.

The truth is that the street can offer endless opportunities to make different kinds of photographs and, according to tutor Bruce Gilden, it can be extremely limiting to pigeon hole or categorise the practice when working strictly in line with tradition.

The “unexpectedness of the encounters” captures the beauty of the street, alluded to by the tutor Peter van Agtmael.

To challenge the genre’s traditions, new ideas and a unique vision needs to be brought to the fore alongside innovation, which is the key to establishing a personal definition of what the street means.

The Decisive Moment

Street photography is a revered and established practice with a history spanning more than 100 years. Notable contemporary photographers have reimagined what street photography can be which spans all the way back to the notion of “the decisive moment” by the pioneering street photographer Henri Cartier-Bresson and Magnum Photos has a deep-rooted relationship with the genre.

There is a diversity of unique voices each working to their own vision rather than any certain singular approach; whether this is the vivid social satire of Martin Parr or the wanderings of Cartier-Bresson.

Whether from the visceral and vital or to the charming and lighthearted there is a plethora of visions of what constitutes the genre and throughout the Magnum archives there are evidences of a myriad of approaches; from those who take a slow approach to those who manoeuvre through crowded busy and bustling streets.

Pioneer

Born in Chanteloup-en-Brie, France, Henri Cartier-Bresson developed a strong fascination with painting early in his life.

In 1932, he started a life-long journey within photography, having discovered his camera of choice from, the Leica, that moment on after returning from a year in the Ivory Coast.

During World War II he joined an underground organisation to assist prisoners of war and escapees after being made a prisoner of war in 1940 and escaping on his third attempt in 1943.

He filmed a documentary entitled Le Retour (The Return) after he photographed the liberation of Paris with a group of professional journalists in 1945.

In 1947, with Robert Capa, George Rodger and David ‘Chim’ Seymour, Cartier-Bresson founded Magnum Photos.

He published his first book Images à la Sauvette (Images on the Run) in 1952 when he had returned to Europe after three years spent travelling in Asia.

Pauline Vermare, Cultural Director of Magnum Photos, New York, defines Cartier-Bressonian “Decisive Moment” as such:

“One of the most famous concepts that defines street photography is “the decisive moment”, which is a label that has been stuck on Henri Cartier-Bresson for a long time. But Agnès Sire, Artistic Director of the Foundation Cartier-Bresson, has been arguing and demonstrating over the past few years that “the decisive moment” was not something that Cartier-Bresson was really talking about.

“As beautiful as it is, one of the limitations of “the decisive moment” – when everything comes together, the content and the composition – is that there is a lot of beauty in the “indecisive moment”, the weak moment in the photograph, when nothing seems to be happening.

“This is because photography is not always about just one frame; photography is very much about the series, the sequencing of images.”

Words by Elijah (Content Marketer) via Digital Camera World.