Episode 3 of 6
Duration: 1 hour
Being in the right place at the right time'; 'the decisive moment'; 'getting in close' - in the popular imagination this is photography at its best, a medium that makes viewers eyewitnesses to the moments when history is made. Just how good is photography at making sense of what it records? Is getting in close always better than standing back, and how decisive are the moments that photographers risk their necks to capture? Set against the backdrop of World War II and its aftermath, the episode examines how photographers dealt with dramatic and tragic events like D-Day, the Holocaust and Hiroshima, and the questions their often extraordinary pictures raise about history as seen through the viewfinder. With contributions from Magnum legends Philip Jones-Griffiths and Susan Meiselas, soldier-lensman Tony Vaccaro, 9/11 photographer Joel Meyerowitz, and broadcaster Jon Snow:
http://images.londonstreetphoto.org/wp-content/uploads/2011/10/cartier-bresson-behind-saint-lazare-train-station-1932.jpgIn 1933 Henri Cartier Bresson shot a moment that took only a fraction of a second to shoot but came to be known as a ‘decisive moment’ that is the most familiar concept in all of photography. It has become a strategy that has illuminated photography’s potential for everyone. His decisive moments transformed the faces of photography.
Illuminate photography’s potential to all of us.Photo-journalism was born in chaos of modern warfare.Should you trust a photograph? “trusting a photograph was probably a huge mistake from the beginning". However, people believe photographs.
The Leica was a revolutionary development in camera technology launched in Germany in 1925, it was a compact, quiet with the latest lens and technology it gave birth to a whole new style of instant photography and allowed you to be present in the moment. Henri Cartier-Bresson was a French photographer considered to be the Grand- father /God-Father of modern photojournalism. He was an early adopter of 35mmformat, and the master of candid photography. He helped develop the "street photography" or "life reportage" style that has influenced generations of photographers who followed. The early 1930’s he prowled the street. Being in the right at eh right time. He steps into a space and see the theatrical possibilities. Into this space life would come – a game of chess. FRANCE. Paris. Place de l’Europe. Gare Saint Lazare. 1932.- Greatest Photograph of the 20th century. He was a surrealist.
Loyalist Militiaman at the Moment of Death, 1936 Robert CapaThe Leica, launched in Germany in 1925, was a revolutionary development in camera technology. Compact, quiet and with the latest lens technology it gave birth to a whole new style of instant photography. "It allows you to be really present in the moment and glide through the moment. The thing about it is that the window is here on the corner, so that when you look through the camera your other eye is open so that you can actually watch the world. Most other single reflex cameras go in front of your face so they block off your vision." (Joel Meyerowitz, Photographer) The Leica was the chosen tool of Hungarian-born photo-journalist Robert Capa who became famous for capturing the ultimate in decisive moments - the death of a Spanish Civil War soldier cut down by a bullet in 1936. When Civil War became World War, in 1939, Capa bought fame, heroism, and charisma to the war photographer. Working for Life Magazine he recorded that the first rule of photojournalism was 'to get close' and the second, 'to get closer.' It earned him a reputation as the world's greatest war photographer and its first real celebrity. Capa’s famous saying “If your picture isn’t good enough, you’re not close enough.” CapaafterthefirstwaveThat D-Day morning he was close enough. “The water was cold and the beach still a hundred yards away. The bullets tore holes in the water around me, and I made...