關於 black and white street photographers ，我們在網路上蒐集到這些相關的討論、資訊與評價

[share] any Ho Fan fans here? 👋🏼

【#MPlusStories #MPlus故事】何藩：決定性的瞬間 Ho Fan: On the Decisive Moment (for English please scroll down) http://bit.ly/HoFan_video_Chi

「黑白是給我一個距離，是跟現實人生有一個距離， 我覺得這個距離很重要的。」何藩
‘Photographing in black and white offers me a sense of distance: a distance from real life. I think this kind of distance is important.’ Ho Fan

屢獲殊榮的攝影大師、電影導演及演員何藩，憑藉其對光影與構圖的獨有觸感，拍下無數反映香港五、六十年代的日常生活照，而苦力、小販、在街上玩耍的孩童等尋常百姓，更是他經常捕捉的對象。M+ 收藏了不少何藩代表性的作品，包括《迷離階梯》（1959）、《放學》（1963）、《街市隊伍》（1963）等。

何藩的攝影手法體現了法國攝影大師亨利．卡地亞－布列松（Henri Cartier-Bresson）稱之為「決定性瞬間」的精神。這種等待關鍵一刻才按下快門的攝影手法，直到今時今日仍然廣受街頭攝影師和攝影記者所採用。透過這訪問片段，大家可以欣賞更多何藩的精彩作品，以及了解他對攝影的獨特看法：http://bit.ly/HoFan_video_Chi

*訪問以粵語進行。若想看到影片中的對話，您可以開啟「字幕」功能。

Award-winning photographer, film-maker, and actor Ho Fan applied his keen sense of composition and lighting to capture some of the most distinctive images of daily life in 1950s and 1960s Hong Kong. He often made the lives of ordinary people such as labourers and hawkers, and children playing in the street, the subjects of his work. A number of his photographs are part of the M+ Collections, including ‘Smokey Staircase’ (1959), ‘School is Over’ (1963), and ‘The Market Parade’ (1963).

Ho Fan’s style of photography exemplifies what the French photographer Henri Cartier-Bresson dubbed the ‘decisive moment’. This practice —of waiting for the perfect moment to click the shutter button—remains a popular way of working that is widely used by street photographers and photojournalists alike. Hear from Ho Fan himself on photography, the eye of a cinematographer, and his practice of image-making: http://bit.ly/HoFan_video_Eng

*The interview is conducted in Cantonese. For subtitles, please turn on the closed captioning function.

看一個訪問，聽著當中的故事。

「黑白是給我一個距離，是跟現實人生有一個距離， 我覺得這個距離很重要的。」何藩

【#MPlusStories #MPlus故事】何藩：決定性的瞬間 Ho Fan: On the Decisive Moment (for English please scroll down) http://bit.ly/HoFan_video_Chi

「黑白是給我一個距離，是跟現實人生有一個距離， 我覺得這個距離很重要的。」何藩
‘Photographing in black and white offers me a sense of distance: a distance from real life. I think this kind of distance is important.’ Ho Fan

屢獲殊榮的攝影大師、電影導演及演員何藩，憑藉其對光影與構圖的獨有觸感，拍下無數反映香港五、六十年代的日常生活照，而苦力、小販、在街上玩耍的孩童等尋常百姓，更是他經常捕捉的對象。M+ 收藏了不少何藩代表性的作品，包括《迷離階梯》（1959）、《放學》（1963）、《街市隊伍》（1963）等。

何藩的攝影手法體現了法國攝影大師亨利．卡地亞－布列松（Henri Cartier-Bresson）稱之為「決定性瞬間」的精神。這種等待關鍵一刻才按下快門的攝影手法，直到今時今日仍然廣受街頭攝影師和攝影記者所採用。透過這訪問片段，大家可以欣賞更多何藩的精彩作品，以及了解他對攝影的獨特看法：http://bit.ly/HoFan_video_Chi

*訪問以粵語進行。若想看到影片中的對話，您可以開啟「字幕」功能。

Award-winning photographer, film-maker, and actor Ho Fan applied his keen sense of composition and lighting to capture some of the most distinctive images of daily life in 1950s and 1960s Hong Kong. He often made the lives of ordinary people such as labourers and hawkers, and children playing in the street, the subjects of his work. A number of his photographs are part of the M+ Collections, including ‘Smokey Staircase’ (1959), ‘School is Over’ (1963), and ‘The Market Parade’ (1963).

Ho Fan’s style of photography exemplifies what the French photographer Henri Cartier-Bresson dubbed the ‘decisive moment’. This practice —of waiting for the perfect moment to click the shutter button—remains a popular way of working that is widely used by street photographers and photojournalists alike. Hear from Ho Fan himself on photography, the eye of a cinematographer, and his practice of image-making: http://bit.ly/HoFan_video_Eng

*The interview is conducted in Cantonese. For subtitles, please turn on the closed captioning function.

S. Leiter

Saul Leiter , 1923 - 2013

"I never thought of the urban environment as isolating. I leave these speculations to others. It’s quite possible that my work represents a search for beauty in the most prosaic and ordinary places. One doesn’t have to be in some faraway dreamland in order to find beauty. I realize that the search for beauty is not highly popular these days. Agony, misery and wretchedness, now these are worth perusing." - Saul Leiter

Saul Leiter’s ground-breaking work in photography and painting is only now receiving the international recognition it deserves. Born in Pittsburgh in 1923, Saul Leiter was the son of a distinguished Talmudic rabbi. Leiter’s interest in art began in his late teens, and in 1946, when he was 23, he left Cleveland and moved to New York City to pursue painting. That year he met the Abstract Expressionist painter Richard Pousette-Dart, who was also experimenting with photography. Leiter’s friendship with Pousette-Dart, and soon after with W. Eugene Smith, and the photography exhibitions he saw in New York, particularly that of Henri Cartier-Bresson at the Museum of Modern Art in 1947, inspired his growing interest in photography.

Leiter’s earliest black and white photographs show an extraordinary affinity for the medium, and by 1948 he began to experiment in colour. Edward Steichen included Leiter’s black and white photographs in the exhibition 'Always the Young Stranger' at the Museum of Modern Art in 1953. In the late 1950s the art director Henry Wolf published Leiter’s colour fashion work in Esquire and later in Harper’s Bazaar. Leiter continued to work as a fashion photographer for the next 20 years and was published in Show, Elle, British Vogue, Queen, and Nova.

Leiter made an enormous and unique contribution to street photography. His abstracted forms and radically innovative compositions had a painterly quality that stands out among the work of his New York School contemporaries. Perhaps this is because Leiter continued through the years to work as both a photographer and painter. His painterly sensibility reaches its fruition in his painted photographs of nudes on which he has actually applied layers of gouache, casein and watercolour in a whimsical and sensuous way. His masterful use of the two media is apparent in these remarkable pieces.

Martin Harrison, editor and author of Saul Leiter : Early Color, writes, “Leiter’s sensibility…placed him outside the visceral confrontations with urban anxiety associated with photographers such as Robert Frank or William Klein. Instead, for him the camera provided an alternate way of seeing, of framing events and interpreting reality. He sought out moments of quiet humanity in the Manhattan maelstrom, forging a unique urban pastoral from the most unlikely of circumstances.” - Max Kozloff