William Klein (April 19, 1926 – September 10, 2022) was an American-born French photographer and filmmaker noted for his ironic approach to both media and his extensive use of unusual photographic techniques in the context of photojournalism and fashion photography. He was ranked 25th on Professional Photographer‘s list of 100 most influential photographers.

Klein trained as a painter, studying under Fernand Léger, and found early success with exhibitions of his work. He soon moved on to photography and achieved widespread fame as a fashion photographer for Vogue and for his photo essays on various cities. He directed feature-length fiction films, numerous short and feature-length documentaries and produced over 250 television commercials.

STYLE – 

His photos; often blurred or out of focus, his use of high-contrast prints, high-grain film + wide angles, shocked the established order of the photography world. His vision and technique, it was this raw approach that served Klein well to capture his subjects with an honesty that truly echoed the diversity of moods, people and situations so present in life.

analysis –

visual –

within this image you can see tow children, one facing towards the camera, which his facial expression is quite emotional. also he is holding a gun towards the camera lens. the other boy is facing the side and looking up towards the boy. this image is in black and white.

technical –

this image was taken quite quickly, you can tell this by that overall the photo is quite grainy. which is a slow shutter speed.

contextual –

it looks like within this image Klein has frightened the boy from taking photo suddenly, which you can see from the gun and his facial expression, which also his expression shows that he is quite angry at Klein.

 Henri Cartier-Bresson vs William Klein

Henri Cartier-Bresson and William Klein, though both influential figures in street photography, shared a common interest in capturing the essence of urban life and human interactions, but differed significantly in their approaches. Both were masters of capturing the “decisive moment,” where a scene’s potential for drama or meaning is most visible.

both of these artist are similar in some ways yet extremely different in others. Cartier-Bresson is self-proclaimed as someone who wishes to remain invisible to his subjects, a faceless camera in the crowds which takes candid pictures. Klein, on the other hand, is far more direct with his camera, choosing to be upfront and in the faces of his subjects. He enjoyed the reactions of his subjects, finding that these made his images far more successful, and also staged some images. From this you can see that in Bresson image the people within it have no awareness that he’s taking a photo, however in Klein’s image you can see that there is contact with the subjects eyes and the camera lens. Bresson images are mostly in Hight detail unless someone or something is moving, Klein is quite grainy and distorted. When Klein takes his images such as this one its been taken informally, which you can tell by the facial expression of the boy. on the other hand Bresson has taken his photos formally, which you can see in the image as the people are acting normally and have no awareness of a photo being taken. From Bresson’s image you can see that he has used a fast shutter speed, which is shown in that its in detail, which in Klein’s you can see that he has used a slow shutter speed, you can tell this from the graininess and blur within the whole image.

Street photography is photography conducted for art or inquiry that features unmediated chance encounters and random incidents^[1] within public places. It usually has the aim of capturing images at a decisive or poignant moment by careful framing and timing. Street photography overlaps widely with candid photography, although the latter can also be used in other settings, such as portrait photography and event photography.

history –

Associated initially with Paris, and figures such as Henri Cartier-Bresson, Brassaï and André Kertész, Street Photography became recognized as a genre in its own right during the early 1930s. While there are precedents, and areas of overlap with documentary and architectural photography, Street Photography is unique in the way it is associated with the photographer’s skill in capturing something of the mystery and aura of everyday city living. As such, the human figure becomes the Street photograph’s most vivid and defining feature. Street Photographers will sometimes engage directly with their subjects (Brassaï, Diane Arbus, Garry Winogrand) but it became more common for the photographer to roam the streets with a concealed 35mm camera. The Street Photographer is then often likened to the historical figure of the flâneur: namely someone who mingles anonymously amongst the crowd observing and recording the ways the unsuspecting city dweller interacts with his or her environment.

Street Photography between Reportage, Cinema and Theatre

Henri Cartier-Bresson (who was born 22nd august 1908, Chanteloup, France—died August 3, 2004, Céreste) he was originally interested in painting g but photography took his eye. but now he is a French photographer whose humane, spontaneous photographs helped establish photojournalism as an art form. His theory that photography can capture the meaning beneath outward appearance in instants of extraordinary clarity is perhaps best expressed in his book Images à la sauvette (1952; The Decisive Moment).

Why is a camera an extension of the eye?

was an extension of his eye because it allowed him to observe and capture the world with a sense of freedom and immediacy. He viewed it as a tool for rapid observation and capturing fleeting moments, enabling him to capture the “decisive moment”. He favoured lightweight, unobtrusive cameras like the Leica to minimize the impact on his subjects and to capture candid, natural images

What is the physical pleasure in making photographs?

Despite a few challenges he faced with his art, Cartier-Bresson had a simple philosophy about the thing that consumed his life: “Photography is a physical pleasure, it doesn’t take much brains, it takes sensitivity a finger and two legs

How can photography be likened to hunting?

 can be likened to hunting because he actively sought out and pursued “the decisive moment,” which he saw as the fleeting, unique, and essential instant within a scene. Like a hunter, he would patiently wait, observe, and then quickly seize the opportune moment to capture it with his camera. This involved understanding the environment, anticipating potential subjects, and reacting swiftly to create the perfect image

Henri Cartier-Bresson’s theory of the decisive moment –

For Cartier-Bresson, it was the moment “when the visual and emotional elements of reality captured in the photograph align in perfect synchrony.” It’s the split second when the story, composition, and emotion culminate into a singular, powerful image.

analysis –

visual –

in this image you can see that’s its a monochrome image

form –

this image has in it a stair case, with a women walking up it and lots of pigeon’s moving in different directions frantically

composition –

its arranged so the the shape of the stairs are quite obvious, by this you can see with some of the pinions are sat on a railing which is the same shapes and also the pigeons are mostly following the railing up or down which enveloped the leading lines. furthermore you can see that the posture of the women you can tell that she’s following up the stairs.

capturing a moment –

within this image you can see that the women making her way up the stairs, has frightened the pigeons which made them fly out the lots of directions

technical –

within this image you can see that there is quite a high shutter speed, as most of the pigeon’s that are moving are in focus and the person walking up the stairs is also in focus.

second analysis –

visual –

from this image you can see that from the railings, there is 3 horizontal lines which help you focus on the man leaping. Also you can see that he has used the rule of third’s which helps it with a appealing composition. Within this image he removed the colour which enhanced the dep’t and details within the image, which could also be seen as nostalgic. With the strong tonal range of the heavy highlights + shadows further enhances the contrast of the image.

technical –

the camera that he used he was Leica range fighter which helped his be discrete when taking his photos and also his camera was very varsity but that it could take good photos close up of far away. his lenses was a 50mm which made it seem like it was taken with the same view of a human eye.

he had clarity and sharp focus which suggests that there is a small aperture which there was also a quicker shutter speed, this how’s that there was a smaller motion blur. The bright light in the sky reflex’s perfectly in the puddle, which makes that shadow of the man framed clearly.

contextual/ conceptual

this image became one of his most popular images, revolutionising street photography and candid photos. which perfectly represents his philocaly of the decisive moment.

A zine is a small-circulation self-published work that typically contains original or appropriated texts and images, often reproduced via a copy machine. The term “zine” is derived from “fanzine,” which combines “fan” and “magazine.” Zines are usually created by individuals or small groups and are often distributed informally

what is purpose of zine?

• Express self-expression and share knowledge and interests.
• Create niche content.
• Find a community.
• Build a brand and identity.
• Provide a platform for marginalized voices and unconventional subjects.

How you want your design to like?

Format, size and orientation?

A5

Narrative / visual concept?

romanticism, the sublime

Design and layout?

full images, black and white, plus colour

Rhythm and sequencing?

half monochrome and half colour

Images and text?

plemont images, about the zine and bio

Title and captions?

natural beauty

looks on InDesign –

final zine product –

visual gallery –

second set –

best raw photos –

edits and experimentation –

final typologies photos –

second photoshoot ( The New Topographies) –

best raw photos –

edits / experimentation –

final edits –

within these images iv chose them as my final images because of the receptiveness of the images but with different edits to create a cool effect

“Typology is the study of types, and a photographic typology is a suite of images or related forms, shot in a consistent, repetitive manner; to be fully understood, the images must be viewed as a complete series.”

artist reference –

Bernd & Hilla Becher

The husband and wife team of Bernd and Hilla Becher began photographing together in 1959. For close to fifty years, they documented architectural forms they collectively referred to as “anonymous sculpture.” Their extensive series of water towers, blast furnaces, coal mine tipples, framework houses of mine workers, and other vernacular industrial architecture—often technologies on the verge of obsolescence—comprise an in-depth study of the intricate relationship between form and function. The Bechers produced impeccable black and white photographs, using a large-format camera carefully positioned under overcast skies to record shadowless front and side elevation views of their subjects. Arranging these matched photographs in a grid, the Bechers produced what they called “typologies,” which grouped buildings by function, underscoring the similarities and differences between structures.

examples –

photo analysis –

technical- within the image there is a sharp focus which could mean that it was taken with a medium or large format camera for high detail, which is common in typological photography. The light is soft and diffused, which is probably due to overcast natural lighting, which helps avoid harsh shadows, plus gives equal prominence to all parts of the structure. the centred and frontal composition, shot straight on at eye level, from thus natural, objective framing it eliminates distraction and creates a catalogue like feel.

visual- within this image you can see there is a possible old wooden cooling tower or industrial ventilation structure, which is tall, cylindrical, which weathered textures plus some visible wear + decay. there is a string use of vertical + horizontal lines, which is symmetrical and this emphasizes the composition. the range of greys that you can see in thus image highlights the surface textures and structural forms over colour, leading the image a timeless, archival quality.

conceptual- the tower could speak to themes of industrial decay, memory + time, how once functional structures became relics.

Alexander Mourant is an artist, educator and writer based in London. His first publication, The Night and the First Sculpture, was published by Folium, 2024. Recent exhibitions include To Walk in the Image, Lismore Castle Arts, Ireland (2023), At the Farthest Edge: Rebuilding Photography, NŌUA, Norway (2023) and A Sudden Vanishing, Seen Fifteen Gallery, London (2023). Mourant is a recipient of grants from Arts Council Norway, Arts Council England and Arthouse Jersey. He has been commissioned by FT Weekend Magazine, Hapax Magazine and The Greatest Magazine, and included in BJP, The Guardian, Photograph, Photo works, METAL Magazine and Photo monitor. He won the Free Range Award and was nominated for the Foam Paul Huf Award. Mourant is a Member of Revolv Collective and Contributor at C4 Journal. He achieved BA Photography at Falmouth University, and MA Photography at Royal College of Art, London. He is a Lecturer in Photography at Kingston University.

The work of Alexander Mourant embraces autobiography, literature and reference-based thinking, to create narratives that question the relationship between the body and the photographic medium. His practice is a deeply rooted investigation into photography, writing, performance and sculpture, and seeks to uncover a parallelism between action and theoretical discourse. Known for his post-conceptual approach and expanded research, he often utilises methodologies cultivated by the 1960s-70s Land Art movement, Performance and Arte Povera, to help question, or push, our understanding of the photographic. Mourant proposes how images may deal with temporality, spatiality and reflexivity, through new ways of thinking, and alludes to the photographic becoming a terrain itself, and a place we traverse.

some of his works –

possible things can take photos of –

Scrapyards, building sites, cranes, restoration yards, derelict ruins, car parks, underpass, harbours and dockyards, industrial centres, retail park, stadiums, floodlight arenas, staircases, road systems, circuit boards, pipework, telephone poles, towers, pylons, shop displays, escalators, bars, libraries, theatres and cinemas, gardens, parks, playgrounds, swimming pool

possible titles –

Dereliction / Isolation / Lonely Places / Open Spaces / Close ups / Freedom / Juxtaposition / Old and new / Erosion / Altered Landscapes / Utopia / Dystopia / Wastelands / Barren / Skyscapes / Urban Decay / Former Glories / Habitats / Social Hierarchies / Entrances and Exits / Storage / Car Parks / Looking out and Looking in / Territory / Domain / Concealed and Revealed

possible places to go –