httpv://www.youtube.com/watch?v=z3SjVgnZndg Willy Ronis / French photographer / 1910-2009
Martin Parr (born 23 May 1952 in Epsom, Surrey) is a British documentary photographer, photojournalist and collector. He is known for his photographic projects that take a critical look at modern society, specifically consumerism, foreign travel and tourism, motoring, family and relationships, and food. httpv://www.youtube.com/watch?v=3_fR5_gExEk
Joel Meyerowitz (born in 1938,the Bronx New York City) is a street photographer who began photographing in color in 1962 and was an early advocate of the use of color during a time when there was significant resistance to the idea of color photography as serious art. In the early 70′s he taught the first color course at Cooper Union where many of today’s renowned color photographers studied with him. He made a significant change to large format color photography in 1976, and along with Stephen Shore and William Eggleston became the first group of young artists to use […]
In 1967, when the Museum of Modern Art in New York City presented New Documents — a major exhibition of the personal visions of several photographers — the surprise of the show was the work of Diane Arbus. On her own, against the advice of many friends, she had pursued her documentation of people on the fringes of society, and the astonishing in the commonplace.
Josef Koudelka (b. January 10, 1938 in Boskovice, Czechoslovakia) is a Czech photographer. httpv://www.youtube.com/watch?v=a1cmkSEHaS4
httpv://www.youtube.com/watch?v=vMekVYuchzU Helen Levitt, born 1913 in New York, is one of the most important photographer of the 20th century.
Mark Cohen, a self-described “surrealistic action photographer,” is profiled in this episode of “Profiles in Excellence.”
Winogrand street photographer one of the best! IN THE STREET PICTURES of the early sixties Winogrand began to develop two pictorial strategies that he found suggested in certain pictures in Frank’s The Americans. The first of these related to unexplored possibilities of the wide-angle lens on the hand camera. The conventional conception of the wide-angle lens saw it as a tool that included more of the potential subject from a given vantage point; most photographers would not use it unless their backs were literally against the wall.