Photojournalism

Charles De Gaulle by Erich Lessing, Algeria 1958

Charles De Gaulle by Erich Lessing, Algeria 1958

Apart from historical documentation, which was always important to Erich Lessing, the chosen perspective is striking. Lessing claims that a good composition could be attained by thinking ahead. To him, the latter is an essential part of photo journalism.

Henri Cartier-Bresson with Leica M3 by Ara Güler, 1964

Henri Cartier-Bresson with Leica M3 by Ara...

Ara Güler was named the “Master of Leica” in 1962, he shot this photograph of his friend Cartier-Bresson – as unexceptional as it is symbolic – two years later, using a M3 Chrome: “This portrait speaks volumes. I took it unexpectedly, just when his eye was distracted by a subject he was interested in shooting himself.

Sweden - Brazil, World Cup Final by Anders Engman, Stockholm 1958

Sweden - Brazil, World Cup Final by Anders...

Engman’s photo composition provides the perfect frame of the Brazilian team: while all around him, adversaries and teammates seem to be falling over their own feet, in the eye of the storm the great Didi stops the ball, as calmly as if he were taking a walk in the park – only to play a deadly pass the next moment.

Homecoming Soldiers by Ernst Haas, Vienna 1947

Homecoming Soldiers by Ernst Haas, Vienna 1947

Ernst Haas’s legendary photo series Post-World War II Vienna 1945 – 1958, documents the return of the first soldiers from Allied captivity. Amongst the most well-known and impressive visual documents of the post-world war II period in all of the contemporary history.

World War II by Walter Henisch

World War II by Walter Henisch

This photo shows silhouettes of the three backlit riders in twilight, shadowed against dramatic cloud layers, the angle of the light creating an emotional atmosphere makes this photograph unique.

Front Populaire by Robert Capa, Paris 1936

Front Populaire by Robert Capa, Paris 1936

This photo taken by Robert Capa, depicts a boy imitating the hand gesture of the adults present. Capa, who emigrated to Paris, France in 1933 in order to escape fascism, eternalised this photograph on film emulsion, enabling the viewer to participate in this movement’s spirit of the (then new) political beginnings.