New York City, 1955

New York City, USA. 1955.

Photo by Elliott Erwitt / Magnum Photos

Checoslováquia 1968

Carnaval, Moravia, Checoslováquia.1968

© Josef Koudelka | Magnum Photos

Bombay, 1993

"A mother and child ask for alms through a taxi window during the monsoon"

Bombay, India. 1993.

© Steve McCurry /Magnum Photos

Pablo Picasso 1948

Pablo Picasso and Françoise Gilot. 

France. August. 1948.

© Robert Capa © Magnum Photos.

Bad Weather

'Bad Weather'. Elland. England, GB. December, 1978.

© Martin Parr/Magnum Photos

Biarritz, 1951

 

 [Woman on the beach, Biarritz, France], August 1951

Fotografia de Robert Capa

Brooklyn, 1959

Brooklyn, 1959

Fotografia de William Klein

Família, 1955

Família, 1955

Fotografia de Elliott Erwitt

Provence, 1955

 

 Provence, 1955

Fotografia de Elliott Erwitt

 

Pen, Brush and Camera: A 1998 Documentary on the Life and Work of Henri Cartier-Bresson

As cores de Cuba por Steve Mccurry

Cuba pelo olhar do fotografo norte-americano Steve Mccurry.

Mais no Blog de Steve Mccurry aqui.

A Tragédia de Bhopal (1984 – 2014)

Os fetos que foram abortadas na sequência da tragédia,  foram preservados para estabelecer a causa da morte.

(Fotografia Magnum)

 

Na madrugada de 2 para 3 dezembro de 1984, uma fuga descontrolada de gás na fábrica de pesticidas da Union Carbide em Bhopal, na Índia, causou um dos piores desastres humanitários e ambientais da história da humanidade. 24 toneladas de Isocianato de Metila, um composto químico altamente tóxico e mortal, contaminou todas as formas de vida e os recursos naturais que existiam num raio de vários quilómetros em redor da fábrica.
 

 Dr. Sathpathy é o perito forense do Hospital Hamida. Já realizou mais de 20 mil autópsias. (Fotografia Magnum)
 

A Union Carbide, empresa de pesticidas de origem norte-americana, negou-se a fornecer informações detalhadas sobre a natureza dos contaminantes, e, como consequência, os médicos não tiveram condições de tratar adequadamente os indivíduos expostos. Estima-se que entre 22.000 e 25.000 pessoas morreram por contaminação química e que mais de 57.000 pessoas foram expostas a níveis perigosos deste composto, o que causou malformações e numerosas sequelas que em alguns casos passaram de geração em geração.

 

 

 Todas estas mulheres perderam os seus maridos na tragédia. 
(Fotografia Magnum)

Apesar deste quadro absurdo, a fábrica da Union Carbide em Bhopal permanece abandonada desde a explosão tóxica enquanto que os resíduos perigosos e materiais contaminados ainda estão espalhados pela área. 30 anos depois do desastre, a empresa norte-americana que é proprietária da fábrica, a Union Carbide, continua sem responder perante a justiça indiana e milhares de pessoas da região continuam a beber água contaminada, são afetadas por várias doenças ginecológicas e infertilidade.
 

Enterro de uma criança não identificada em 1984.
(Fotografia Magnum)

 

Mais sobre o assunto em:

Bhopal, 30 años de un crimen corporativo impune (Publico.es)
 

Desastre de Bhopal (Wikiepadia)


La tragedia según Magnum (El Mundo)
 

René Burri (1933 - 2014)

René Burri (1933 - 2014)

Natcho Aguirre 1934

 

Henri Cartier-Bresson, Natcho Aguirre, Santa Clara, Mexico, 1934

Bruce Davidson, Master of the Subway

Coney Island, NY. 1959. From Brooklyn Gang - Bruce Davidson/Magnum

 

We can all learn a great deal by studying the work of photographer, Bruce Davidson. Born near Chicago in 1933, Davidson has extensively photographed for over 50 years, including subjects such as the Civil Rights Movement in the early ’60s, circus performers, a Brooklyn gang, Spanish Harlem, and a five year project on New York’s subway system in the gritty days of the ‘80s. A few of his main influences were Robert Frank, W. Eugene Smith, and Henri Cartier-Bresson. Davidson joined the Magnum photo agency in 1958. Besides Davidson’s intimate photographic style, which you need to view a few of his projects in their entirety to get a feel for, there are a few very important lessons that he can teach you about your own work. Much of Davidson’s work was focused on series and projects. One of his most important works is East 100th Street, where he captured life within a single block in East Harlem in the late ’60s. While many photographers may have tried to capture East Harlem in its entirety, Davidson honed in. He got familiar with a smaller area with a lot of life, and told broad stories by narrowing the subject matter. By focusing on a small part of a large area, he was able to become much more familiar and intimate with his subjects.

 

East 100th Street, Spanish Harlem, 1966 – Bruce Davidson/Magnum

 

Davidson also spent time following a Brooklyn gang of youths called the Jokers in 1959, and he created a series of civil rights work when he following a group of freedom riders in the south (in 1961) through dangerous situations. Besides his technical ability, one of Davidson’s main strengths was figuring out where the interesting stories were and putting himself where the action was. Then, he got close and familiar to his subjects. That idea might make you nervous, but based on some of his writings you can see that he was nervous at points as well. However, he did not let that stop him from doing it. He got close with his subjects and this closeness is shown within his images. It is one of the most important aspects of why his photographs are so successful.

 

New York City, 1962 – Bruce Davidson/Magnum

 

While this intimacy was very important in his work, Davidson did not seem to think of himself as a documentary photographer, stating, “Documentary photography 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.” Starting in 1980, Davidson began an extensive five year project documenting the New York Subway system. The subway project is what hits closest to home for me, and it is inspiring to read about. When you visit New York City it is interesting to compare his photographs to the modern day look of the subway system. It helps to see your own work through this perspective. How would he do his project today? The subway system looks so much different, so how can I also capture it in an interesting way?

 

NYC Subway, 1980 – Bruce Davidson/Magnum

 

When talking about prolific photographers, it is easy to think that we cannot repeat their success. They seem bolder and more fearless. However, when you read Davidson’s quotes about the project, he does not sound much different than any of us would probably feel. He was just self aware enough and able to push through it. It is inspiring to say the least.

“As I went down the subway stairs, through the turnstile, and onto the darkened station platform, a sinking sense of fear gripped me. I grew alert, and looked around to see who might be standing by, waiting to attack. The subway was dangerous at any time of the day or night, and everyone who rode it knew this and was on guard at all times; a day didn’t go by without the newspapers reporting yet another hideous subway crime. Passengers on the platform looked at me, with my expensive camera around my neck, in a way that made me feel like a tourist—or a deranged person.

It was hard for me to approach even a little old lady. There’s a barrier between people riding the subway—eyes are averted, a wall is set up. To break through this painful tension I had to act quickly, on impulse, for if I hesitated, my subject might get off at the next station and be lost forever. I dealt with this in several ways. Often I would just approach the person: “Excuse me. I’m doing a book on the subway and would like to take a photograph of you. I’ll send you a print.” If they hesitated, I would pull out my portfolio and show them my subway work; if they said no, it was no forever. Sometimes, I’d take the picture, then apologize, explaining that the mood was so stunning I couldn’t break it, and hoped they didn’t mind. There were times I would take the picture without saying anything at all. But even with this last approach, my flash made my presence known. When it went off, everyone in the car knew that an event was taking place—the spotlight was on someone. It also announced to any potential thieves that there was a camera around. Well aware of that, I often changed cars or trains after taking pictures.”

Read more from Davidson on this project: Train of Though: On the ‘Subway’ Photographs. Now it’s time to explore Davidson’s work and think about a photographic project that you can do in your own area.

 

Subway.

NYC Subway, 1980 – Bruce Davidson/Magnum

 

Brooklyn Gang.

Brooklyn Gang, 1959 – Bruce Davidson/Magnum

 

East 100th Street.

East 100th Street, Spanish Harlem, 1966 – Bruce Davidson/Magnum

 

Circus

The Dwarf, Circus, Palisades, NJ. 1958 – Bruce Davidson/Magnum

 

Times of Change: Civil Rights. 1961-65.

Birmingham, Alabama, 1963 by Bruce Davidson/Magnum

 

 

The post Masters of Photography: Bruce Davidson, Master of the Subway by James Maher appeared first on Digital Photography School.

Hemingway na Guerra Civil de Espanha (1938)

Ernest Hemingway na Guerra Civil de Espanha durante o Inverno de 1938.

Fotografia de Robert Capa (Magnum Photos).

La Maleta Mexicana (2011)

"La maleta mexicana" cuenta la historia de los 4.500 negativos que los prestigiosos fotógrafos Robert Capa, Gerda Taro y David "Chim" Seymour tomaron durante la Guerra Civil Española, que desaparecieron y fueron recuperados 70 años después en Ciudad de México. La película aborda el viaje de estos negativos de Francia a México; descubre además el papel que México jugó durante la Guerra Civil y su apoyo a la República en el exilio, y desvela la forma en la que España afronta hoy su propio pasado, treinta años después de la Transición.

Eve Arnold (1912 - 2012)

Rapariga num bordel, Havana, Cuba, 1954

A fotógrafa norte-americana Eve Arnold faleceu esta semana com 99 anos. Eve era membro de longa data da mítica agência Magnum. Galeria de fotografias aqui.

A mala mexicana de Robert Capa (3)

Gerda Taro, [Training of the New People’s Army, Valencia], March 1937.

© International Center of Photography.

Gerda Taro, [Crowd at the gate of the morgue after the air raid, Valencia], May 1937.

© International Center of Photography.

Gerda Taro, [Young Republican soldier, Brunete, Spain], July 1937.

© International Center of Photography.

Gerda Taro, [Republican soldier on a motorcycle, Navacerrada Pass, Segovia front, Spain],

late May–early June 1937. © International Center of Photography.

Fred Stein, [Gerda Taro and Robert Capa on the terrace of Café du Dôme in Montparnasse, Paris],

early 1936. © Estate of Fred Stein. International Center of Photography

A mala mexicana de Robert Capa (2)

Chim (David Seymour), [Mother nursing a baby while listening to political speech, near Badajoz, Extremadura, Spain],

late April–early May 1936. © Estate of David Seymour / Magnum. International Center of Photography

Chim (David Seymour), [Outdoor mass for Republican soldiers, near Lekeitio, Basque region, Spain],

January–February 1937. © Estate of David Seymour / Magnum. International Center of Photography

Chim (David Seymour), [Dolores Ibárruri (La Pasionaria), Madrid], late April–early July 1936.

© Estate of David Seymour / Magnum. International Center of Photography

Chim (David Seymour), [Two Republican soldiers carrying a crucifix, Madrid], October– November 1936.

© Estate of David Seymour / Magnum. International Center of Photography