Street photography can be said to be a type of candid or documentary photography, that is used for art or inquiry, that showcases random occurrences and snapshots of life in public places, without it being set up or staged. Photographers who appropriate this genre of photography, usually aim to focus their images on one subject, such as a portrait.
Studio photography uses a photography studio to capture an image of a subject. The photographer can control every aspect of the shoot from different backdrops and lighting (studio portraits tend to include simple monochromatic backgrounds), they can also decide what to include in the photo, such as costumes and props.Costumes and props for models can be used to create different outcomes, such as using props from specific time periods to create an older looking image.
Lighting is very important in Studio photography. Photographers need to concentrate on the lighting as different shadows make different impacts and change the mood and atmosphere of a photo. To make a strong bold image a photographer may want to dramatise the shadow to create a higher contrast between the subject and the background.
Three-point lighting is often used as a form of lighting in a studio setting. It is when you have three light sources placed in three different positions, usually artificial lighting. By changing the size, distance, intensity, and position of them a photographer can control how the light and shadow appear in the photo and how they work with the subject.
Examples Of Studio Portraits:
Richard Avedon
Richard Avedons’ career started when he joined the armed forces in 1942 during World War II, serving as Photographer’s Mate Second Class in the U.S. Merchant Marine.
Avedon was fascinated by capturing personality and evoking the life of his subjects. He used stylistic and narrative poses, attitudes, hairstyles, clothing and accessories as he knew that these are vital to use the right way to get a perfect image.
He is better known for his commercial photography that he did for brands and magazines.
David Bailey is an English fashion photographer best known for his images of celebrities, models, and musicians. He was first inspired by the works of Henri Cartier-Bresson. Returning to England, Bailey began working as a fashion photographer for John French as an assistant.
An environmental portrait is a portrait executed in the subject’s usual environment, such as in their home or workplace, and typically illuminates the subject’s life and surroundings. The term is most frequently used as a genre of photography. By photographing a person in their natural surroundings, it is thought that you will be able to better illuminate their character, and therefore portray the essence of their personality, rather than merely a likeness of their physical features. It is also thought that by photographing a person in their natural surroundings, the subject will be more at ease, and so be more conducive to expressing themselves, as opposed to in a studio, which can be a rather intimidating and artificial experience.
Unknown
Daniel Korzeniewski
Anders Erriksson
ACTION PLAN
WHO – I will be photographing people in their working environment.
WHAT – I will be taking photographs of the subject’s natural working environment including any tools / equipment that they are using.
WHERE – I will be taking my photographs at my place of work, at the Central Market, the Fish Market, and florists.
WHEN – I will be taking photographs over the next few days whenever I have the opportunity to go to the different locations or whenever is the most convenient for the people I will be photographing.
WHY – I will be taking these photographs in order to showcase different lifestyles and areas of work.
MIND-MAP
MY RESPONSE
My thought process behind this particular shoot was that I wanted the subject to be the main focus of the photograph, so I used a plain white background in order to keep the viewer’s attention on the subject. I used fairly natural lighting because I wanted the images to appear light and soft, as opposed to the harsh and dark effect I would’ve gotten if I had used artificial lighting. I placed the subject in the centre of the photograph, again to keep them as the main focus. I experimented with different angles to give each image a unique look and feel, and to avoid capturing the same image over and over again.
As I used different angles, I also managed to change the amount of free space in the photograph which was not used up by the subject. I tried leaving more room above them, below them and to either side of them in order to make each image look different. Additionally, I explored different depth of fields by using a varying range of angles. Again, I did this in order to make each photograph appear different and individual.
Fox Talbot was an English member of parliament, scientist, inventor and a pioneer of photography.
Fox Talbot went on to develop the three primary elements of photography: developing, fixing, and printing. Although simply exposing photographic paper to the light produced an image, it required extremely long exposure times. By accident, he discovered that there was an image after a very short exposure. Although he could not see it, he found he could chemically develop it into a useful negative. The image on this negative was then fixed with a chemical solution. This removed the light-sensitive silver and enabled the picture to be viewed in bright light. With the negative image, Fox Talbot realised he could repeat the process of printing from the negative. Consequently, his process could make any number of positive prints, unlike the Daguerreotypes. He called this the ‘calotype’ and patented the process in 1841.
Julia Margaret Cameron (11 June 1815 – 26 January 1879) UK
She is known for her soft-focus close-ups of famous Victorian men and for illustrative images depicting characters from mythology, Christianity, and literature.
Much of her work has connections to pictorialism and even movements such as The Pre-Rapahelites, and often had a dream-like, constructed quality to the images.
Sir John Herschel ,1867
Robert Cornelius (1809-1893) USA
Cornelius’s 1839 photograph of himself. The back reads, “The first light picture ever taken”. The Cornelius portrait is the first known photographic portrait taken in America,
In most cases we can make use of natural or available / ambient light…but we must be aware of different kinds of natural light and learn how to exploit it thoughtfully and creatively…
intensity of the light
direction of the light
temperature of the light (and white balance on the camera)
Explore using diffusers (tissue paper, coloured gels, tracing paper, gauze etc) to soften the light
Try Front / side / back lighting
Compare High Key v low key lighting
Exploit Shadows / silhouettes
2. Studio Lighting
Using artificial lighting can offer many creative possibilities…so we will explore :
the size and shape of light
distance from subject to create hard / soft light
angles and direction…high, low, side lighting
filtered light
camera settings : WB / ISO / shutter speed etc
reflectors and diffusers
key lighting, fill lighting, back lighting, 1,2+3 point lighting
soft-boxes, flash lighting, spot lights and floodlights
chiarascuro and Rembrandt lighting
high key and low key lighting techniques
backdrops and infinity curves
long exposures and slow shutter speeds
Chiarascuro used to illuminate features
Johannes Vermeer, The Girl with the Pearl Earring, 1665—-chiarascuro as employed by the Dutch Masters
Francesca Woodman created blurred (self) portraits, due to movement and long exposure times), who are merging with their surroundings,
Using Flash
Bouncing the flash to soften its effects
Above : An example of “bouncing” the flash to soften the effects and create a larger “fill” area…try this wherever there are white walls/ ceilings
Flash units offer a range of possibilities in both low and high lighting scenarios that you could explore such as…
flash “bouncing”
fill-in flash
TTL / speedlight flash
remote / infra-red flash (studio lighting)
fast + slow synch flash
light painting c/w slow shutter speeds
Evidence of Your Learning
During this unit we would expect all students to complete 2-3 blog posts detailing how you are experimenting with various lighting techniques eg CHIARASCURO / REMBRANDT LIGHTING
Rembrandt Lighting
Add information / links showing how Chiarascuro has been used since the Renaissance in painting…but also how it used now in photography and film
You must describe and explain your process with each technique…add your images to your blog as you progress, print off your successful images and evaluate your process using technical vocab and analysis skills. Think carefully about the presentation of your ideas and outcomes…compare your work to relevant portrait photographers as you go eg
Annie Leibovitz, Irving Penn, Rankin, Richard Avedon, Yousef Karsh, David Bailey, Mario Testino, Steve McCurry, Jill Greenberg, Nick Knight, Tim Walker, Corrine Day, Jane Bown, Rineke Djikstra, Thomas Ruff et al…
Thomas Ruff
Philip Toledano- Days with My FatherSebastiao Salgado
David Goldblatt- Soth Africa / racial segregation / gender roles / status
Alec Soth- social documentary and representationRineke Dijkstra- youth and transition to adulthood
Expected Final Outcomes by Monday 7th December2020
A Case Study and Practical Responses to a photographer who employs a range of lighting techniques
1 x Final Portrait using natural light + analysis and evaluation
1 x Final Portrait using 1 point lighting + analysis and evaluation
1 x Final Portrait using 2 point lighting+analysis and evaluation
Show you can show evidence of head shots, cropped head shots, half body, three-quarter length and full length portraits.
Show that you can employ interesting angles and viewpoints…
Make sure you ANSWER THESE QUESTIONS IN YOUR BLOG
Why do we use studio lighting?
What is the difference between 1-2-3 point lighting and what does each technique provide / solve
What is fill lighting?
What is Chiarascuro ? Show examples + your own experiments
Independent Study
You must complete a range of studio lighting experiments and present your strongest ideas on a separate blog post
Remember to select only the most successful images
You should be aiming to produce portraits that show clarity, focus and a clear understanding of a range of lighting techniques
Editing should be minimal at this point…we are looking for your camera skills here
But…be creative and experimental with your approach “in camera”…extremes, uniqueness and possibly thought provoking imagery that will improve your ideas and outcomes.
Hendrik Kerstens (in response to Dutch Masters paintings)
An environmental portrait is a portrait executed in the subject’s usual environment, such as in their home or workplace, and typically illuminates the subject’s life and surroundings. The subjects of these images are usually surrounded by objects which relate to their craft, may that be their career or hobby. Environmental portraits should allow the observer to identify the subjects job easily by using a well lit setting and clear links to their work around or on them.
Environmental Portraits Mood Board
Image Analysis – Arnold Newman
Arnold Newman | Portrait of Russian composer Igor Stravinsky | December 1, 1946
This environmental portrait of Igor Stravinsky (1882-1971) was captured by American photographer Arnold Newman (1918-2006). Newman is noted for his environmental portraits, where he photographed many famous artists and politicians. Igor Stravinsky was a Russian composer, pianist and conductor-widely considered one of the greatest and most versatile composers of the 20th century. In this portrait image, Newman has created an abstract composition as the subject Stravinsky is placed in the bottom left corner, only barely being seen. Therefore, the piano outweighs the subject alluding to the idea that music plays such an important role in his life. Additionally, the shape of the instrument itself resembles a musical note, which mixed with the immense size of the piano could symbolize how overwhelming the power of music is on society and culture. Newman has captured this image with a black and white filter, possibly due to the cameras used in 1946, which creates a high contrast of dark and light tones. There is not a vast range of tone in this image, primarily it consists of one main highlight, mid-tone and shadow- the darkest area being the piano and the lightest being the wall behind. This opposition between a harsh black and a bright white really makes the piano stand out in the photograph; it creates a clear focal point for the observer. Furthermore, there are many geometric shapes and lines in this photo which create a rigid sharp texture. These acute lines also add to the unsettling atmosphere of the image as their definite structures allude to the idea that Stravinsky’s career is at times strict and harsh in order for him to succeed above others in the industry.
Environmental Portraits Mind-Map
Photoshoot Plan
Who – I plan on photographing the people who work in the market, such as butchers, florists and chefs. I also wish to photograph some essential workers in the time of Covid-19, such as cashiers, postmen and firemen.
What – I aim to capture the subjects looking directly at the camera, surrounded by their working environment and/or showing them doing their job.
When – I hope to take some of these images on Tuesday, November 10th as the weather will be sunny and dry for any outdoors shots. I also aim on doing a shoot on Wednesday, November 11th in the evening as the market won’t be as busy and crowded.
Where – On Tuesday, my plan is to travel to St Helier and go around town looking for any postmen or binmen that may be working. I will also head to St Brelade to photograph the firemen at the station. On Wednesday, I aim on going to the market in St Helier to capture my evening photos.
Why – I will take these photos to demonstrate my understanding of environmental portraits and to show people in their working environments. I also want to show how these people feel at the moment of the shoot, letting them act however they wish to in front of the camera.
How – I am going to produce this photoshoot using my Canon EOS 2000D with natural lighting for the outdoor shots and artificial ceiling lighting for the indoor shots. I will use a short aperture to capture the subjects face as the main focal point in my photos.
Contact Sheets
Final Edited Images
Final Images
I have chosen these two images of a florist and a fireman as my final selection as I believe they show clear environmental portraits, linking to each other through colour and composition. Firstly, both images hold repetition of saturated warm colours, such as yellow and red, which reflect the cheerful atmosphere created by the subjects smiling facial expressions. Additionally, I think these images work well together because of their similar compositions. Image one has the subject in the centre, with her work environment surrounding her in the foreground and background. This allows the observer to connect with the image as the camera is at eye level with the subject smiling down the lens, creating a friendly and welcoming atmosphere. Nevertheless in image two, the subject is similarly placed in the centre of the photograph- however his work environment is directly behind him showing he is the main focus and importance in the image. Furthermore, the fire engine behind the main subject in image two holds diagonal thick lines which create direction and lead our focus towards him. These straight leading lines also produce quite a harsh texture in image two, which alludes to the harsh reality of a fireman’s job and shows how strict and precise he must be in order to save someone’s life. This contrasts well with image one as it holds a softer texture due to the more organic and natural shapes created by the flowers and ribbons surrounding the woman. Overall, I believe these two images show strong environmental portraits which reflect the atmospheres and challenges one has in these particular careers.
Chiaroscuro lighting is a technique that has been used for centuries. It entails the use of a distinct contrast between light and dark.
The above image shows Chiaroscuro lighting techniques where I shot the subject in a dark place and used fluorescent lighting to highlight just parts of my subjects face. The lighting positioned above the subject casts long shadows in a downward fashion to accentuate the facial features of my subject.
Chiaroscuro was used in old renaissance paintings such as this painting from Caravaggio where strong contrast between light and dark can be seen both on the casted shadow on the subjects faces and the background being dark and certain facial features being highlighted.
Caravaggio, Michelangelo Merisi da; Salome receives the Head of John the Baptist
Rembrandt Lighting
Rembrandt Lighting is a lighting technique where light illuminates one side of the face and there is a small triangle of light present on the subjects cheek.
Seen in the above image is my example of where I used Rembrandt Lighting. I used a fluorescent light source on the right side of the subject and casted enough of a shadow so that the nose shadow connects with the cheek shadow to create a small triangle of light on the subjects left cheek.
We use studio lighting to manipulate shadows, accentuate features of a subject, create a mood and manipulate the colour of the background.
Three point lighting is a lighting technique that uses three lights – the key light, fill light and the back light.
Fill lights are used to fill in the shadows in the background
Key lights are used to light the subject.
Back lights are used to separate the subject from the background by creating a subtle rim of light around the subject.
Annie Leibovitz
Annie Leibovitz is an American photographer who is known for her alluring portraits of celebrities. She is good at captivating the intimacy of her subjects.
She uses a range of lighting. Such as these images which consist of a more low-key approach on the left and a more high key response on the right
Henri Cartier-Bresson (August 22, 1908 – August 3, 2004) was a French photographer who enjoyed capturing candid photos and was considered a master at taking them.
He also contributed to the Magnum which as a community of photos which represents some of the world’s most renowned photographers. It has been ongoing since the 1930s and includes all types of photos such as industry, society and people, places of interest, politics and news events, disasters and conflict.
Henri Cartier-Bresson : Children in Seville, Spain, 1933.
The photo above has quite a darkening effect due to the dark tones as well as the natural lighting which has been used. In the photo you can see the repetition of what the people in the photo are wearing as they are all wearing similar clothing which adds detail.
Additionally you can see the way the photographer has used his space by spacing out the people in the photo apart rather than together. The main focus of this photograph is the people in the photo i feel this because the background is very plain however it does have sharp edges to it.
Robert Frank ; “Trolley — New Orleans,” 1955.
Robert Frank’s photography is very different to others which may be because of the harsh black and white tones or even the style in which they were taken.
I feel as if his photography is more staged rather than being a real life event which would occur. The main focus of his images is the people which he he has chosen to use as well as the environment which they are in.The lighting of these photos came across as natural however I feel that the photos may have been manipulated in photoshop to add harsher tones.
I think the meaning of these photos in which he has taken everyone has a different opinions and the use of black and white tones may hide peoples personalities as the viewer won’t be able to get a sense of the people if you cannot see the colours of the clothes which they are wearing which usually reflects ones personality.
Personally I like the way he has chosen to use black and white in his photographs as it adds variation. However I also believe that these photos may not be appealing to everyone due to the lack of colour.
COMPARISON
I feel as the two images above are very similar in several ways as the both feature people with similar facial expressions as if they concerned or confused which adds character to both of the photographs. Additionally I also feel that the use of black and white adds harsh tones as well as a variety of contrasts. The majority of the people used in both of the photos have engagement with the camera which therefore makes the viewer feel more invested in their photographs.
However they are also different in many ways as Henri Cartier-Bresson’s photograph is focused on children whereas Robert Frank does not have a specific group of people which he is basing his photos on. Furthermore in Robert Franks’s photograph you can see the different reflections shining onto the bus considering that in Henri Cartier-Bresson’s photograph there isn’t any shadows or reflections but there is jagged edges which adds detail.
Henri Cartier was a french humanist photographer who was born in 1908 and died in 2004. He was well known all over most of Europe and France for his talent and was considered a master at candid photography (street photography). He was inspired when he was young by his father who was a wealthy textile merchant as well as his uncle, an accomplished painter.
The Decisive Moment –
The decisive moment refers to capturing an event that is spontaneous, where the image represents the essence of the event itself. This simply means that the event/scene is not set up , its all natural and it captures the day to day life of whatever is being photographed . No poses , no acting , just all original moments. To capture a decisive moment , first you can find a good background, and wait for your subject to enter the frame at the right time, and then click to capture ‘the decisive moment. ‘ Or if wanting a more quicker moment to capture simply taking a photo so quick without the public/ whatever you are photographing knowing. This phrase ‘ the decisive moment’ is known mostly for street photographers such as Henri Cartier who was a co- founder.
Mood Board-
Photography By Henri Cartier..
Analysis –
Berlin Wall – 1962 – Henri Cartier
In this Photograph we can clearly make out that there are children playing down a street next to a concrete wall that seems to have barbed wire/ electric fence at the top. In fact this wall was the Berlin Wall that physically divided Berlin from east Germany. This wall was created in 1961 as for this photo being taken in 1962 , these children seem to have been interested in such a big change to their town/city.
The image itself was taken in black and white and we can see that the natural light floods in from the top right hand corner. We can tell its day time as there is no artificial lighting. The lighting makes the image look like a gloomy , dull day. In some parts of this image the exposure levels are a bit over what they should be , creating harsh black objects that contrast with the over exposed parts (the bright sky). As for the children being in shorts and dresses , this images seems to be set in a warm environment. As for this photograph being in black and white , the tonal range from light the dark is quite equal . They don’t overall each other. The lines in this image seem to be even and straight mostly. There isn’t much pattern to this image. But when looking at the image first glance, your eyes are drawn down the stretch of alley was as for the angle the picture was taken.
Linking back to ‘ The Decisive Moment ‘ this scene of children playing along the Berlin Wall captures a moment in time as for the children doing there own thing. For example… no acting , they are playing among themselves . Henri does a great job at showing off his talent of understanding what exactly ‘ The Decisive Moment ‘ is, but not only that , he captures a great street photography image.
Comparing and Contrasting Henri Cartier’s Work to John Bulmer’s work –
John was known for his use of colour in photojournalism. His street photography links to Henri Cartier as for capturing ‘ The Decisive Moment ‘ . His photography captures moments in time/scene/event. As for his photography is a bit more modern than Henri’s , he still photographs in style of Henri’s images. For example…..
Comparing Johns and Henri’s photography –
Left Image – 1964 Durham (John Bulmer) Right Image 1962 Berlin (Henri Cartier)
Both images have similarities such as the setting the photo was taken in. Both images have children playing among themselves and are set in a street/alley with concrete walls surrounding the children. The dull atmosphere such as the bare skies and grey flooring creates a cold/boring scene. The colours that stands out in Johns work (the red jumper or the blue dress) gives off a more intriguing look towards the photograph. This draws the viewers eyes more to johns work then Henri’s work. Another similarity found would be that both images have a stretch of alley way looking down the picture which draws our eyes towards the natural light down the image to the right. Even though both images are set in different areas of Europe, they both have that olden feel to them. As for in present time children are found using their free time on technology, in the years 1962-1964 (when these images were taken) children would be found playing in the streets with whatever they can find.
Street photography is an essence of photojournalism that by definition consists of photography of random encounters and chance incidents. Despite the name, street photography does not nessiseraly have to take place on the street or urban setting but is rather defined by the presence of public presence weather that be naturally occurring populations of people in the public eye or public settings, street photography is the public world seen through an artistic eye.
Mood Board
Siegfried Hansen
Alex Webb
Alexander J.E.Bradley
Boogie
Bruce Gilden
Paul Russel
Shin Noguchi
Shin Noguchi
The best street photography always tends to contain an underlying social/political context that makes a statement and ignites thought.
Street photography has been a form of photographical expression and journalism for over a century. This is why this form of photography can also portray certain historical events or periods in history without words which is the exact reason these images can be so powerful. They can be used as a form of rebellion: Below is an image taken by Susan Meiselas in July 16, 1979 that gives a good example of this historical context; it is taken during the Nicaraguan rebellion; the image is extremely powerful portrays the emotion and essence that was felt of the time.
Susan Meiselas
Henri Cartier-Bresson
Henri Cartier-Bresson was a French photographer born in Chanteloup-en-Brie, Seine-et-Marne. He developed an early fascination with painting particularly with Surrealism.
After spending a year in the Ivory Coast in 1932, he discovered his true life long passion – photography. Taken prisoner of war in 1940, he escaped on his third attempt in 1943 and subsequently joined an underground organization to assist prisoners and escapees.
In 1945, he photographed the liberation of Paris.
Henri Cartier-Bresson
After three years he had spent travelling in the East, in 1952, he returned to Europe, where he published his first book, The decisive moment. From 1968, he began to curtail his photographic activities, preferring to concentrate on drawing and painting.
In 2003, with his wife and daughter, he created the Fondation Henri Cartier-Bresson in Paris for the preservation of his work. Cartier-Bresson received an extraordinary number of prizes, awards, and honorary doctorates.
He was referred to as a humanist photographer and the master of candid.
Henri Cartier-Bresson
Seen above is an image from Henri’s book “The Decisive Moment” published in 1952. The composition is of a curved cobble street/ alley way surrounded by old buildings. There is a cyclist cycling expeditiously wearing black clothing on the street toward the left side of the composition. The photo is taken from the top of a spiralling staircase contained by a strong metal railing with evenly spread, parallel spokes, which meanders down towards the street in an uneven fashion. This gives the image a unique view point where the alleyway setting can be seen from above.
The photograph has low saturation and high contrast and it is also slightly underexposed and shot with natural lighting which gives the alleyway a low-key, darker, grungy look. The image is also taken with a slower shutter-speed which portrays the movement and briskness of the cyclist as he delays blurringly through the composition. Henri also framed the cyclist in the gap between where the railing stops and the strong line of the corner of a building. The image can give context to the rush and hustle that people can become enveloped in on these streets.
Henri co-founded Magnum Photo Agency in 1947. This was a cooperative agency where the founders where assigned different regions to photograph across the globe. Henri was assigned India and China. This is where he gained recognition for documenting Gandhi’s funeral in India in 1948 and the last stage of the Chinese Civil War in 1949
INDIA. 1948. Delhi. GANDHI’s funeral. Crowds gathered between Birla House and the cremation ground – Henri Cartier-Bresson
Joel Meyerowitz
Joel Meyerowitz is a street photographer from the Bronx, New York
Joel Meyerowitz
Joe’s pieces portray humanity in its hustle, boisterous and everyday movement similarly to the works of Cartier-Bresson.
Joes works are more concentrated to the place he grew up and he goes about his work in a manner of capturing the essence of New York and documenting the city. This is different in Henri’s work; his is more diverse – he documents the essence of different cultures and political viewpoints from all over the world.
Joe Meyerowitz
Henri Cartier-Bresson
Image comparison
Both of the above images picture a man in smart attire mid stride in a city environment.
Both images give a background to what the life of the subject looks like and their everyday hustle. The images both capture the subjects movement and direction while including the environment around them which adds to the incite into the subjects background.
Both images have low saturation and high contrast which make the black suited subjects almost appear like silhouettes. They are both shot with slower shutter speed to capture some of the movement of the subjects. Henri’s composition is more three-dimensional as the reflection on the street below the subject adds another layer to the image and creates a horizontal symmetry. Joes image is exposed slightly more which gives it more clarity.
Photo Shoot Plan
What
People on the streets
Who
Random interesting looking people
When
During day – good natural lighting. Overcast conditions – low key images – not too harsh lighting.
Where
Town, urban area
Why
To explore the techniques, methods of shooting street, photography, to capture the essence of people going about their day.
How
Talk to people, use lens with higher focal length, position myself in way that captures a unique viewpoint.
Street photography is photography conducted for art or enquiry that features unmediated chance encounters and random incidents within public places. Street photography is a sub genre of photojournalism. The very publicness of the setting enables the photographer to take candid pictures of strangers, often without their knowledge. Street photographers do not necessarily have a social purpose in mind, but they prefer to isolate and capture moments which might otherwise go unnoticed. Framing and timing can be key aspects of the craft with the aim of some street photography being to create images at a decisive or poignant moment. Street photography can focus on people and their behavior in public, thereby also recording people’s history.
This image was taken of a mother and child by John Bulmer in 1965. Bulmer had his own style of street photography, taking intimate close shots of people on the streets and public places done with a wide-angle lens interspersed with compressed views of architecture, industry and townscape with a longer lens. The long lens was also used to isolate a figure on the streets. In addition to Cartier-Bresson, Bulmer admired the work in black and white of Bill Brandt, Larry Burrows, William Klein, Mark Kauffman, and particularly Eugene Smith; but he was asked to work in colour for the Sunday Times Colour Section from its launch in 1962. At the time, most photojournalists looked down on colour photography as commercial; and colour film was difficult to work with as it was slower than black and white and had less exposure latitude
