rss feedWest Village | Corner Bistro
10:
Leica M6 TTL, 50mm Noctilux, Agfa APX 400.
Corner Bistro, West Village © Doug Kim
Sebastião Salgado | Churchgate Station
08:
I work only in 35mm format. I have a small bag so I can carry all my films with me for one or two months. That means I am completely independent and free.
-Sebastião Salgado
Click for larger image.
Church Gate Station, Bombay, Inida 1995 © Sebastião Salgado
Union Square | Buskers
07:
Nikon D300, 35-70mm Nikkor, SB-800 Speedlight.
Buskers, Union Square © Doug Kim
Henri Cartier-Bresson | Germany, Part One
06:
Above all, I craved to seize the whole essence, in the confines of one single photograph, of some situation that was in the process of unrolling itself before my eyes.
-Henri Cartier-Bresson
HAMBURG, West Germany—Around the neck of a young man hangs a sign that reads, "I am looking for any kind of work," December 1952-January 1953. © Henri Cartier-Bresson / Magnum Photos
DESSAU, Germany—A transit camp, located between the American and Soviet zones, was organized for refugees, political prisoners, POWs, forced laborers, and displaced persons returning from the Eastern front of Germany after having been liberated by the Soviet army. A Belgian woman and former Gestapo informer, being identified as she tried to hide in the crowd, April 1945. © Henri Cartier-Bresson / Magnum Photos
MUNICH, West Germany—Oktoberfest, 1961. © Henri Cartier-Bresson / Magnum Photos
MUNICH, West Germany—Oktoberfest, 1961. © Henri Cartier-Bresson / Magnum Photos
MUNICH, West Germany—Oktoberfest, 1961. © Henri Cartier-Bresson / Magnum Photos
MUNICH, West Germany—Oktoberfest, 1961. © Henri Cartier-Bresson / Magnum Photos
HAMBURG, West Germany—December 1952-January 1953. © Henri Cartier-Bresson / Magnum Photos
Los Angeles | Culver City
05:
The intersection of Sepulveda and Washington Boulevards in Culver City fifty years ago. I’ve driven through this intersection a thousand times. It could use a rocket ship and a big ass donut again.
LOS ANGELES—The corner of Sepulveda and Washington Boulevards in Culver City, 1960. © Dennis Stock / Magnum Photos
André Kertész | Landing Pigeon, New York, 1960
04:
André Kertész | Landing Pigeon, New York, 1960
This was taken around 59th Street where they had demolished the houses, and I saw a pigeon flying in and out. The original idea for this photograph dates back to my days in Paris, where I also saw some old run-down houses and wanted to photograph them with a pigeon. But the pigeon never came. Here in New York I sat and waited. Time and time again I went back to the same place, but it was never right. Then one day I saw the lonely pigeon. I took maybe two or three pictures. The moment was here. I had waited maybe thirty years for that instant.
-André Kertész, Kertész on Kertész
Nashville, Tennessee | Dominican Drive
03:
There were a bunch of people hanging out in front of this local corner mart as I pulled up. It was early evening in the summer, that great time between the days chores and the night’s revelry. There was a group of guys that I wanted to shoot, smoking and lounging by their cars but they were extremely wary of me as it was obvious I was an outsider. I walked up to these girls instead and started chatting, shooting a few frames as the group of guys dispersed quickly in their cars.
I did not get the shots I wanted but I had a good time hanging out and talking with these girls on a sticky summer evening.
Leica M6 TTL, 35mm Summicron, Agfa APX 400.
Dominican Drive, Nashville, Tennessee © Doug Kim
Dominican Drive, Nashville, Tennessee © Doug Kim
Dominican Drive, Nashville, Tennessee © Doug Kim
Leonard Freed | Reading
02:
Ultimately, photography is about who you are. It is seeking the truth in relation to yourself. And seeking truth becomes a habit.
– Leonard Freed
JERUSALEM—Bible study, 1967. © Leonard Freed / Magnum Photos
Cartier-Bresson, Kertész & Koudelka
24:
Once, Henri [Cartier-Bresson] rang me in Paris and said, ‘Josef, [André] Kertész is in town, you must come to dinner and meet him.’ I said, ‘Henri, I love his pictures but I do not need to meet him.’ ‘No, you do not understand, you have to meet him because we three, we are of the same family.’ At the time, this seems to me to be an unbelievable thing to say. Now, though, when I look back from a distance, I can see that maybe there is something in that.
-Josef Koudelka
Stairs of Montmartre, Paris 1925, André Kertész
PRAGUE, Czechoslovakia—1992. © Josef Koudelka / Magnum Photos
Hyères, France, 1932 © Henri Cartier-Bresson / Magnum Photos
