Henri Cartier-Bresson

Henri Cartier-Bresson was born on 22^nd August 1908 in France and later died on 3^rd August 2004. He was a French photographer and considered to be the father of modern photojournalism.  Cartier-Bresson was an early owner of 35mm format and the chief of candid photography. He participated in developing the street photography or real life analysis style, which has influenced groups of photographers.

After unsuccessfully trying to learn music, as a child Cartier-Bresson was introduced to oil painting by his uncle Louis who was gifted painter. Cartier-Bresson once said “Painting has been my obsession from the time that my father and Uncle took me into his studio during the Christmas holidays in 1913, when I was five years old. There I lived in the atmosphere of painting and inhaled the paintings. His Uncle Louis' painting lessons were cut short, when he died in World War 1.

In 1927, at the age of 19, Cartier-Bresson went to a private art school. Cartier-Bresson also studied painting with society portraitist Jacques Émile Blanche.  Lhote took his pupils to the Louvre to study traditional artists and to Parisian galleries to study modern art. Cartier-Bresson's interest in modern art was combined with a respect for the works of masterpieces of Jan van Eyck, Paolo Uccello, Masaccio and Piero Della Francesca. Cartier-Bresson often regarded Lhote as his teacher of photography without a camera.

In 1930 Cartier-Bresson became inspired by Hungarian photojournalist Martin Munkacsi which showed three naked young African boys, caught in near-silhouette, running into the surf of Lake Tanganyika. Cartier-Bresson described the portrait as a photo that captured the freedom, grace and spontaneity of the boy’s movement and their joy at being alive. Cartier-Bresson said “the only thing which completely amazed me and brought me to photography was the work of Munkacsi. When I saw the photograph of Munkacsi of the black kids running in a wave I couldn't believe such a thing could be caught with the camera. I said damn it, I took my camera and went out into the street.”

The Munkacsi photograph inspired him to stop painting and to take up photography seriously. He explained, "I suddenly understood that a photograph could fix eternity in an instant.”  He learned the Leica camera with 50 mm lens in Marseilles and that would be the camera that would accompany him for many years. He described the Leica as an extension of his eye.  The secrecy that the small camera gave him in a crowd or during an intimate moment was important in overcoming the formal and unnatural behavior of those who were aware of being photographed. He improved his secrecy by painting all shiny parts of the Leica with black paint. The Leica opened up new possibilities in photography, the ability to capture the world in its actual state of movement and transformation.

Cartier-Bresson prowled the streets all day, feeling very strung-up and ready to pounce and ready to trap' life. Restless, he photographed in Berlin, Brussels, Warsaw, Prague, Budapest and Madrid. His photographs were first exhibited at the Julien Levy Gallery in New York in 1932, and next at the Ateneo Club in Madrid. In Mexico in 1934, he shared an exhibition with Manuel Alvarez Bravo.

In 1934 Cartier-Bresson met a young polish photographer named David Szymin who was called Chim this was because his name was difficult to pronounce. Szymin later changed his name to David Seymour. Through Chim, Cartier-Bresson met a Hungarian photographer named Endré Friedmann, who later changed his name to Robert Capa. In the early 1930’s the three shared a studio in the early 1930 where Capa mentored Cartier-Bresson. ”Don't keep the label of a surrealist photographer, be a photojournalist. If not you will fall into mannerism. Keep surrealism in your little heart, my dear. Don't fidget. Get moving.” This was the famous lines Capa told Cartier-Bresson.

Between 1937 and 1939 Cartier-Bresson worked as a photographer for the French communists evening paper Ce Soir.

Cindy Sherman

Cindy Sherman was born on January 19^th 1954 in New Jersey. The 59 year old is a well-known director and photographer.  Whilst in college Cindy took an interest in photography and this is where it all started.  The majority of the Sherman photographs are of herself in a range of costumes, to form her photographs, Sherman shoots alone in her studio, playing multiple roles including authors, directors, make-up artist, hairstylists, wardrobe mistress, and of course, models.

Sherman shot a collection of photos for Bus Riders in 1976, the photo’s featured the artist as a variety of accurately observed characters. Even though photographs were shot in 1976 some were not printed or displayed until 2000. Sherman uses decorative costumes and make up to transform her identity for each image, the stage is set using a wooden chair which stands in for the bus seat.

When asked if she considers herself to be acting in her photographs, Sherman said, ‘I never thought I was acting. When I became involved with close-ups I wanted more evidence in the expression. I couldn’t depend on the background or atmosphere. I wanted the story to come from the face, somehow the acting just happened’. Sherman also quoted “I feel I'm anonymous in my work. When I look at the pictures, I never see myself, they aren't self-portraits, sometimes I disappear. She describes her development as natural, and that she responds to elements of a setting such as mood, locations, light and costume.  She will continue to change outer features until she finds what she wants. When taking photographs of herself Sherman said, "I think of becoming a different person, I look into a mirror next to the camera and it’s trance-like. By staring into it I try to become that character through the lens. When I see what I want my instinct takes over both in the 'acting' and in the editing and seeing that other person that’s up there, that’s what I want, it’s like magic.

Darkroom equipment

Developing tank: A developing tank is a light tight container which is used for developing film. The developing tank allows photographic film to be developed in daylight. This is extremely useful because a lot of film is sensitive to daylight and therefore can not be exposed to any light during the process A developing tank can hold one roll of film. £11.22

Safelight: A Safelight is light suitable for use in a photographic darkroom. A safelight is a source of such light. A safelight usually consists of an ordinary light bulb in a housing closed off by a coloured filter, but sometimes a special light bulb or fluorescent tube with a suitable filter material coated directly on the glass is used in a regular fixture. £25.61

Enlarger: An enlarger is a specialized transparency projector used to produce photographic prints from film or glass negatives. £25.61

Focus finder: A focus finder is a simple visual tool used to examine a virtual image in an optical device to achieve a precise point of focus.  £22.50

Contact proof printer: Negatives are easily positioned in slots on the mask of the proof printer and the resulting contact sheet enables easy choice of which negatives to enlarge. £45.97

Printing filter: Filters are ideal to use with all types of variable contrast black & white papers. Each pack comprises a set of 12 gelatine filters calibrated in half-grade steps from grade 00 through to grade 5, each individually labelled with its grade. £20.45

Changing bag: A changing bag is a photographic bag that is purposely designed to be light-proof while in use. It is essential for certain applications involving photosensitive materials when a darkroom is not available. Common usages include removing film from its canister to put it into a developing tank, or loading and unloading sheet film holders. £21.30

Triple-Timer: A triple timer is a useful 3 stage timer which may be used as a clock, stopwatch or 3 stage timers at the touch of a switch. The three countdown stages may be run simultaneously or as separately switched timers. At the end of each time period there is an audible signal £15.88

Drying rack: A drying rack, prints on RC paper dry flat quickly. The rack allows free circulation of air and holds up to 5 prints 12 x 16" (30.5 x 40.6cm) or 10 prints 8 x 10" (20.3 x 25.4cm) or smaller. Special separators ensure minimum contact with the print £30.70

Print washer: A rapid print washer is designed for resin coated papers and the flow pattern creates turbulence on both sides of the print to ensure all chemicals are thoroughly removed. Designed to wash prints with economical use of water - only low flow required. 8X10 = £26.64     12x16 = £45.09

 

Fibre print washer: When making Fibre based prints, it is essential to professionally and thoroughly wash them after processing to avoid stains appearing.  Auto print washers provide the most rapid and efficient method of washing paper and the unique system ensures all chemicals are removed. Prints are held separately in the holder whilst washing takes place, allowing water to freely circulate across the surface.

10X12 = £112.70              12X16 = £163.95

Print squeegee: A print squeegee is specially designed to remove surplus of water from both sides of the print after it has been washed. £22.50

 

Film clip set: Contains one weighted clip and one unweighted. The weighted clip is used at the bottom of the film to hold it straight while drying. Stainless steel pins grip the film securely and ensures the film is held straight while drying. £8.60

 

Funnel: A Funnel is virtually unbreakable in normal use it’s resistant to all photographic chemical and specially designed to prevent airlocks. £5.63

Processing trays: Processing trays are wonderfully made from impact and chemical resistant plastic and the design is optimised for darkroom use. The grooves on the base enable easy handling of prints, one corners features a pouring lip, and the other a thermometer rest. It is advisable, although not essential, to use trays one size larger than the prints you are processing. Set of 3 5X7 = £9.73.    Set of 3 8X10 = £12.80.

Set of 3 10X12 = £ 16.35.

Set of 3 12X16 = £24.55.

Set of 3 16X20 = £50.70.

Set of 3 20X24 = £60.42

Water filter: A Water Filter can be connected directly to most taps. The 20 micron filter removes most water borne dust and grit. £15.88

Film washer hose: A Force Film Washer hose fits most domestic taps and is designed to plug into developing tanks. It should be known that the most efficient way to wash your film, in terms of minimising water wastage, is to manually change the water several times, reverse the tank. £11.98

Measuring jug: A mixing jug is made from tough polypropylene impact and chemical resistant plastic. 1L = £8.15. 2L = £12.25

Measuring graduates: A measuring graduate is used to accurately measure chemicals. 45ML = £5.63. 150ML = £5.63. 300ML= £6.65. 600ML = £8.70. 1200ML = £9.73.

 

Film squeegee: A film squeegee enables the removal of excess water after the final wash and prior to hanging up the film to dry. You should be certain your water supply has not grit or dirt in it before using this device or you could scratch your film. £11.78

Tongs: Print tongs are ideal for anyone looking to avoid skin contact with paper processing chemistry. £7.68