Modern French fashion photography originated with three Parisian postcard photographers known as the Seeberger brothers (Jules, Louis, Henri), who began taking portrait photos of the upper echelon of French society around 1910 onwards. As these casual portraits of beautiful women, clad in the latest fashions at horse races, holiday resorts and cafes, began to appear in journals and magazines, couturiers such as Chanel, Hermes, and Madeleine Vionnet rushed to send their fashion models to be photographed by the brothers. On both sides of the Atlantic, the emergence of department stores greatly increased the accessibility of women's fashion. In Paris the leading fashion stores included LeBon Marche, La Samar

1. Hajar Rabhi Filali
Fashionphotography
The term "fashionphotography"describesatype of fine art photographydevotedtothe promotionof
fashionitemssuchashaute couture clothing,aswell asmass-marketclothes,shoes,perfume andother
brandedproductsdesignedbyfashionhousesaroundthe world.Practicedbymanyof the world's
greatestphotographers,"fashionphotography"shouldbe seenprimarilyasaform of visual art,rather
than an appliedart,since the imagescreateddonotserve a utilitarianfunction.Furthermore,21st
centuryfashionphotos - like mainstreamTV commercials - are primarilyconcernedwiththe promotion
of a brand (that is,a concept),ratherthan a physical product.Whateveritsprecise meaningor
aesthetics,"fashionphotography"iscloselylinkedto contemporaryartandpopularculture.Notonly
doesitreflectpopularattitudes,aspirations,andtastes,italsoreflectsthe viewsthatwomenhave,
abouttheirself-image,genderandsexuality.Inaddition,"fashionphotography"isinextricablylinkedto
the media.Emerginginitiallytosatisfythe needsof women'smagazinespublishedbyConde Nastand
Hearst,such as VogueandHarper's Bazaar- today augmentedbypublicationslike Elle, Cosmopolitan,
VanityFair,W, Grazia and Seventeen - it now has instantworldwideimpactthankstothe digital
computerrevolutionandthe Internet.AlthoughNew YorkreplacedParisasthe the meccaof fashion
photographyasfar back as the 1940s, Parisand Milanremainimportantcreative centres,whileFar
EasterncitiesinIndiaandChinawill nodoubtemerge asinternational fashioncentresbefore long.
The earliestfashionphotoswereproducedinthe 1860s, to documentthe creationsof the leading
Parisianfashionhouses.The ideaof employingprofessional modelswasthoughttobe repugnant,so
fashionphotographerswerereliantuponsocial celebrities,suchas Gertrude VanderbiltWhitneyor
Sarah Bernhardt,toact as models.Evenwhenfull-timemodelswere lateremployed,theywere
sketchedbyartistsratherthan photographed,becausecouturiersanddesignersthoughtthat
photographswouldgive awaytheirsecrets.Itwasn'tuntil the late 1880s that photographsof models
were usedandthenprintedinfashionmagazines,followingthe inventionof the halftone printing
processby FredericEugene Ives(1856–1937). Thisnew printprocessmade itpossible toreproduce
fashionphotographsinmass-circulationjournalsandmarketfashiontoamass audience.The twomost
importantfashionmagazines(bothfoundedinAmerica) were Harper'sBazaar(foundedbyHarper&
Brothers,firstpublished1867, laterboughtby Hearst) and Vogue(foundedbyArthurTurnure,first
published1892,laterboughtby Conde-Nast).These journalsandtheirexpandingreadership,together
withrapidlyadvancingAmericantechnologyinthe areaof photographyandprinting,made the United
Statesan importantcentre inthe area of fashionphotography.
Paris Culture and Fashion (1880-1930)
But despite America'stechnical edge,Parisremainedthe centre of Westernculture,notablyinthe areas
of fine artand printmaking.Indeedwiththe emergence of majorartistictrendslike Impressionism
(1873-83), Post-Impressionism(1880-1900), Art Nouveau(1890-1914), Fauvism(1905-6) and Cubism
(1907-14), Pariswas the Mecca forall seriousartistsinvolvedin paintingandsculpture.Berlinwas
anotherimportantcentre of avant-garde artand design,thankstothe influence of German
Expressionism, aswell asthe influential SturmGallery(1912-32), the laterBauhausDesignSchool(1919-

2. 1933), and the activitiesof photographerslike JohnHeartfield (1891-1968), Raoul Hausmann (1886-
1971), Hannah Hoch (1889-1978), HeinrichHoffmann(1885-1957) andLaszloMoholy-Nagy(1895-1946).
It was the same infashion.All the majortrendsemanatedfromParisandBerlin,anditwasthese French
and Germanfashiontrendsthatwere showcasedin Harper'sBazaarandVogue.Andsince mostof the
majorcouturiersandfashionhouseswere locatedinParis,itwashere thatmostof the pioneering
fashionphotographywasdone.Indeedthe firstseriousfashionphoto-shootwasdone inParisin1911
by the AmericanphotographerEdwardSteichen (1879-1973), whenhe photographedaseriesof gowns
made by the couturierPaul Poiret,soasto conveytheirphysical qualityaswell astheirformal
appearance.Publishedinthe magazineArtetDecoration,Steichen'simageswere seenasthe first
modernfashionphotoseverpublished.OtherFrenchmagazinesthatemployedfashionphotography
duringthe prewaryearsincluded La ModePractiqueandLa Gazette du Bon Ton,while otherearly20th-
centuryParisianfashionphotographersinclude:the Seebergerbrothers - JulesSeeberger(1872-1932),
LouisSeeberger(1874-1946) and Henri Seeberger(1876-1956) - Maison Reutlinger,Boissonnaset
TaponnierandHenri Manuel.
 Modern Frenchfashionphotographyoriginatedwiththree Parisianpostcardphotographers
knownas the Seebergerbrothers(Jules,Louis,Henri),whobegantakingportraitphotosof the
upperechelonof Frenchsocietyaround1910 onwards.Asthese casual portraitsof beautiful
women,cladinthe latestfashionsat horse races,holidayresortsandcafes,begantoappear in
journalsandmagazines,couturierssuchas Chanel,Hermes,andMadeleine Vionnet rushedto
sendtheirfashionmodelstobe photographedbythe brothers.
Althoughhithardby The Great War (1914-18), France retaineditspositionasthe centre of art and
fashionthroughoutthe 1920s and30s, thanksto the birthof Surrealismin1924, as well asthe rise of
couturierssuchas Chanel,Balenciaga,Schiaparelli, andLanvin,each of whombecame knownfortheir
distinctive styles.Asaresult,the citycontinuedtoattract top cameraartists includingHorstP.Horst
(1906-99), Man Ray (1890-1976), Cecil Beaton (1904-80), George Hoyningen-Huene (1900-68),Erwin
Blumenfeld(1897-1969), Brassai (1899-1984) and Andre Kertesz(1894-1985), as well asthe design-
geniusAlexeyBrodovitch(1898-1971).
 On bothsidesof the Atlantic,the emergenceof departmentstoresgreatlyincreasedthe
accessibilityof women'sfashion.InParisthe leadingfashionstoresincluded LeBon Marche,La
Samaritaine,andthe GrandsMagasinsDufayel,while inAmericatheyincluded Macy's,
McCreary's,Abraham&Straus,ATStewartDry GoodsStore (all New York), MarshallField &
Company, Carson PirieScott(bothChicago), andWanamaker's (Philadelphia).
FashionPhotography in America (1900-1930)
Such activityinParisdidnotprevent American fashionphotographyfromprogressingalso.The country's
growingwealth,the powerof Harper'sBazaar and Vogue,aswell asitstraditionof photographicart -
exemplifiedbythe workof AlfredStieglitz(1864-1946), andlater Paul Strand (1890-1976),Charles
Sheeler(1883-1965), DorotheaLange (1895-1965) andWalkerEvans(1903–1975) - all combinedtomake
NewYork a hotbedof innovation.
The firstnotable AmericanfashionphotographerwasBaronAdolf de Meyer(1868-1946) - best-known
for hiselegantportraitsof celebritiessuchasMary Pickford,JohnBarrymore,LillianGish,RuthSt.Denis,

3. Britain'sKingGeorge V and QueenMary - whoin1913 became the firstofficial fashionphotographerfor
the Americanmagazine Vogue,nowownedbyConde-Nast.De Meyerwasthe firsttoimbue hisfashion
photoswitha sense of "mood",bybathinghisshotsina limpidatmosphere andshimmeringlight.This
refinementopenedthe wayforfashionphotography toevoke awide range of feelingsinthe viewer,
thusabandoningthe traditional conventionof usingfashionphotosfor illustration purposesonly.(For
the evocative effectscreatedbyearlyportraitphotographers,see the workof JuliaMargaretCameron:
1815-79.)
Duringthe earlypart of the 20th century,anothersignificantfactorinthe growthof the American
fashionindustry(andthusAmericanfashionphotography) concernedthe rise of the "ready-to-wear"
clothesindustry,andthe contemporaneousdevelopmentof anindependentUSstyle quite unconnected
withParisianfashion.Ineffect,the AmericanfashionmarketswitchedfromParisiancouture to
individualizedready-to-wearclothing,marketedandpromotedthroughmagazineslike Women'sWear
Daily (founded1910), Harper's Bazaar,andLadies Home Journal(founded1883 - and in1903 became
the firstAmericanmagazine toreach1 millionsubscribers).
In 1924, Adolf de Meyer's'soft-focus'effectsweresupercededbySteichen'scleangeometricstyle of
photographicmodernism,whichsubstitutedsimple butsleekbackdropsforde Meyer'srococosettings.
Like the smoothlines,geometricshapes,andstreamlinedformsof ArtDeco- the hugelyinfluential
designmovementdevelopedinAmerica - Steichen'sphotosshowedthatUSfashionphotographers
intendedto lead Europe,notfollowit.The factthat Americawasthe landof Europeanemigrants,
liberatedfromthe traditionalandold fashionedvaluesof theirhomelands,wasanaddedadvantage.
Thus Steichenwasable toportraythe modernwomanina modernstyle of clothingthatreflectedher
new-foundfreedomfromthe corset - a situationlaterportrayedbyHorst PHorst in hisseminal Vogue
image,entitled"The MainbocherCorset"(1939).See alsoSteichen'sseriesof photographsof Marion
Morehouse,whoembodiedthe archetypal "contemporary"woman,the flapper.
AnotherimportantdevelopmentwasengineeredbyCarmel Snow,editor-in-chief of Harper'sBazaar,
whoarrangedfor the Hungariansports photographerMartinMunkacsi (1896-1963) to shootsome
photosfor a swimwearspread,outinthe openona windybeach.AsLucile Brokaw,the model,ran
towardsthe camera, Munkacsi photographedherinmotion,blurredandhairstreaming,andinthat
instantshatteredthe conventionthatfashionphotographscouldonlybe takeninsideacontrolledstudio
environment.Munkacsi'sspontaneousrealismrevolutionizedthe aestheticsof fashionphotography,
and openedthe wayforothersto follow.
Alsoimportantwasthe inventionof Kodachromeatype of colour filmintroducedbyEastmanKodakin
1935. One of the firstcameraartiststo use colour infashionphotographywasLouise Dahl-Wolfe(1895-
1989), best-knownforheroutdoorphoto-shootsforHarper'sBazaar.She wasalsoone of the firstto use
natural light,andto use exoticlocationsforherphotography.
SurrealistFashion Photography
Presidedoverbyitschief theorist AndreBreton (1896-1966), the Paris-basedSurrealismmovement,
withitsfantastic,dreamlikeattributes,hadasignificant influence onfashionphotography.Thisisbest
exemplifiedbythe workof Man Ray,the Americancameraartistwhochartedan entirelynewdirection
for fashionphotography,mostlybecausehe disregardedthe conventionsandexperimentedwith
surreal,expressionisticimageryinhisdarkroom.Ineffect,hiscontrived,indoor,pictorialiststyleof work

4. representedthe oppositeendof the spectrumtothe spontaneityof Munkacsi.Anotherimportant
pictorialistfashionphotographerwasErwinBlumenfeld(1897-1969) whoemployednumerous
techniquesincludingsolarization,overprinting,juxtapositioningof colourtransparencies,andeven
chillingwetnegativesinthe refrigeratorinordertoachieve hissurreal effects.Othercameraartistswho
incorporatedsurrealistideasintheirphotosincludedthe EnglishmanPeterRose Pulham(1910-56), the
FrenchmanAndre Durst(1907-49), the AmericanGeorge PlattLynes(1907-55), and the inimitable Cecil
Beaton.
WorldWar II and 1950s
The adventof war promptednumerousEuropeanpainters,sculptorsandphotographerstomove tothe
safetyof the UnitedStates.The trendbeganduringthe 1930s and acceleratedfromthe time of Hitler's
rise to powerinGermany,in1933. Thus,for instance,the designerandphotographerAlexeyBrodovitch
(1898-1971) emigratedfromParistoNew York in1930; Martin Munkacsi diditin 1934; George
Hoyningen-Huenemovedin1935; and ErwinBlumenfeld(1897-1969) in1941.
Fashioninthe UnitedStatesduringWorldWar II was a depressingbusiness.Notonlywasthere a
seriouslackof fashionmaterials,designersandmodels,butpeoplehadlostinterestinclothesinthe
face of so muchtragedyand uncertainty.Fashionwasconsideredafrivolousandunnecessaryformof
self-indulgence.Toreconnectwiththeirreaders,fashionmagazinesprofiledwomen'srole inthe war,
promotedfashionasmorale building,replacedsocietycolumnswithwarreports,andchampioned
tailoredbutplainuniform-style clothing.Studiophotographywithitsexpensivelightingsystemsand
intricate setupsdisappearedalmostentirely.Manyphotographers(Lee MillerinParis,Cecil Beatonin
London,Louise Dahl-Wolfe inNewYork) adoptedadirect,straightforwardstyle almostlike a
documentary.
By the endof the war, the global centre of fashionphotographyhadshiftedfromParistoNew York,
where the rivalrybetween Harper'sBazaarandVoguewasinfull swing.The mostimportant
photographerswere nowMartinMunkacsi,Louise Dahl-Wolfe, IrvingPenn (1917–2009), Richard
Avedon(1923-2004),all of whomwouldmake significantcontributionstofashionphotography,although
PennandAvedonwoulddominatethe genre foryearstocome.Like manygreat modernartists theyhad
the abilitytoreinventthemselveswithalmosteverydecade.
Avedon'sphotoswere markedbytheirchicinsouciance andboundlessvitality.He alsohada unique gift
for inventive risk-takingandimaginative experimentation,andwasa perceptive talent-spotter,always
findingthe "face"thatbestcaptures the "look"of the moment,suchas Dorian Leigh,SuzyParker,
Twiggy,JeanShrimpton,Brooke Shields,andNastassjaKinski.Incontrast,Penn'sphotographywasall
aboutbeautyand form - elementsthatcombinedmostperfectlyinhislaterseriesof still life photos.He
was the firstto use austere greyandwhite backgrounds,andhisstudioarrangementswereboth
aestheticandmeticulous.If Avedon'sworkcanbe describedas"immediate",Penn'sis"monumental".
In additiontotheirfashionwork,bothmenproducedoutstanding portraitart- see,forinstance,Penn's
immortal portraitof PabloPicasso,orAvedon'sportraitof the model DovimawearingaDiordress
surroundedbyAfricanelephants.

5. Anothermajorpostwartalentwasthe Britishcameraartist NormanParkinson (1913-90), whojoined
Vogue(International) in1946 andbeganworkingforUS Vogue in 1949. Parkinson's"actionrealist"style
and larger-than-life personalityhelpedtotransformconventional fashionphotography.
In general,one cansaythat by the mid-1950s, a new fluidandenergeticaesthetichademergedto
replace the more staticprewarapproach. Ina sense thiswasnomore than a reflectionof the growing
confidence shownbybothbusinessandconsumersasprosperitybegantotake holdacrossAmerica.
Witha rekindledinterestinclothes,boostedbythe stylishimage andoutfitsof movie-stars,American
womenbegantowant more fashionandthe magazinesdulyobliged.InadditiontoAvedon,Pennand
Parkinson,otherleadingfashionphotographersof the 1950s included,WilliamKlein(b.1928) andLillian
Bassman(1917–2012).
 Harper's BazaarandVoguecompetedstronglyforthe mostinnovative fashioneditors,art
directorsanddesigners,manyof whomhada huge effectonthe developmentof clothingand
otherfashionphotography,throughtheirinfluenceovertheirstaff photographersandfreelance
cameramen.The twobestexamplesinclude:AlexeyBrodovitch,artdirectorat Harper'sBazaar
(1934-56); and Mrs. T. ReedVreeland,fashioneditoratHarpers(1936–1962), latereditor-in-
chief at Vogue.
Fashionmodelscontinuedtomake itbiginthe 70s. In 1975, Margaux Hemingwaysignedthe first
million-dollarcontractas the face of Fabergé's Babeperfume,while LaurenHuttonappearedoncoverof
Vogue25 times(!).Blackmodelsalsohitthe bigtime,asexemplifiedbyIman,Donyale Luna,Naomi Sims
and BeverlyJohnson,whowasthe firstAfricanAmericanmodel tofeature onthe coverof American
Voguein1974. Other topmodelsof the 70s decade includedCybillShepherd,Patti Hansen,Penelope
Tree,Grace JonesandJerryHall.
The leadingsupermodelsof 1980s fashionphotographyincluded:GiaMarie Carangi,Inesde la
Fressange,Cheryl Tiegs,Christie Brinkley,PaulinaPorizkova,Brooke Shields,HeatherLocklear,Carol Alt,
and Elle Macpherson,amongothers.Itwas duringthisdecade thatsupermodelsstoppedbeingseenas
individualsandstartedtobe regardedas images,justlike movie stars.Witness the celebritypartyshots
takenby fashionphotographerRoxanne Lowit(b.1965) of supermodelslikeElle Macpherson,Naomi
Campbell andothers.
FashionPhotography in the 1990s
Fashionduringthe 90s turnedalmostMannerist,asconsumersembracedshabbygrunge styles,aswell
as tattoosand bodypiercing.Laterinthe decade there wasa revival of certainlate 60s/early70s styles,
althoughthe 1990s retainedanedginessall of itsown.LongestablishedartistslikeIrvingPennand
HelmutNewtoncontinued todominate the field,while EllenvonUnwerth(b.1954) introducedviewers
to herunique brandof eroticfemininity.Inaddition,PeterLindberg(b.1944),notedforhismonochrome
photos,achievedfame withhisJanuary1990 VoguecoverfeaturingChristyTurlington,CindyCrawford,
Naomi Campbell,LindaEvangelistaandTatjanaPatitz.Meanwhile hisyoungercontemporarySteven
Meisel (b.1954) was praisedforhisshotsof Madonnain her1992 book "Sex"andforVanityFair.The

6. PeruvianfashionphotographerMarioTestino(b.1954) alsoreceivedattentionforhis1997 VanityFair
coverphotosof the late Lady Di,Princessof Wales.
A keyphotographictrend(dubbed"heroinchic"),perhapsreflectingthe genderambivalenceof the age,
was the use of pale emaciatedandrogynous-style models,exemplifiedbythe photo-shootforCalvin
Klein's"Obsession",byMarioSorrenti (b.1971),whichfeaturedawaifishKate Moss.
The 1990s saw the apogee of fashionmodel-power,asembodiedbythe photographicsuperstarscited
above - Naomi Campbell,LindaEvangelista,ChristyTurlington,ClaudiaSchifferandTatjanaPatitz.The
Heroin Chic style flaredbrieflyinmid-decade,butpeteredoutwiththe rise tofame of the Brazilian
model Gisele Bundchen,in1999. The 90s also witnessed the growinguse of establishedcelebritiesin
fashionphoto-shoots,asexemplifiedbyJuliaRoberts,whobecame the face of Lancome.
FashionPhotography in the 21st Century
The twenty-firstcenturyhasalreadybeenmarkedbythree things:the 9/11 bombings;globalizationand
the impoverishmentof the ThirdWorld;and the economicdownturn(2007-2014). Thisappearsto have
influencedfashioninnumerousways.Ethical tradingpracticesandgreenpoliciesare shapingbuying
policies.Ready-to-wearclothesare nowlargelymanufacturedinChina.Escapismtomitigate financial
and political uncertaintieshasencouragedarevival of surrealisticorkitsch-stylefashionphotography,as
well asthe continueduse of celebritiesandlongestablishedsupermodels.Growingdisatisfactionwith
establishedvaluesinthe the wake of worldwideausteritycontinuestostimulatethe use of controversial
elementsinthe designof fashionphotoshoots,althoughnottothe extentof OlivieroToscani's
confrontational 1980s fashion-shootsforBenetton.
Withthe deathsof HerbRitts (in2002), RichardAvedon,HelmutNewton,FrancescoScavullo(in2004),
and IrvingPenn(in2009), today'sleadingfashionphotographersinclude PatrickDemarchelier,Steven
Meisel,MarioTestino,PeterLindbergh,OlivieroToscani (b.1942), Annie Leibovitz (b.1949),NickKnight
(b.1958) and DavidLaChapelle (1963).Youngercamera artistsinclude Christophe Kutner,GlenLuchford,
Craig McDean andJavierVallhonrat.
AlthoughKate Moss,Naomi Campbell,Gisele Bundchenandother'established'modelscontinue tolead
the field,the newcropof professionalfashionmodelsof the 21st century - as citedinAmerican Vogue
(May 2007) - include:AgynessDeyn,LilyDonaldson,ChanelIman,DoutzenKroes,SashaPivovarova,
HilaryRhoda,Coco Rocha, JessicaStam,Caroline Trentini andRaquel Zimmermann.
Meantime the leadingfashionmagazines(aside from VogueandHarper'sBazaar) now include Elle(the
world'sbestsellingfashionmagazine), Cosmopolitan,Seventeen,W,Vanity Fair,GQ,Grazia, Marie
Claire, as well as Dazed and Confused,andSleazeNation.

7. War Photography
War photographyisthe pursuitof capturingimagesof armedcombat and whatlife isreallylike during
war and inwar-torncountries.Itismeantto portray the tragedyand triumphof war inall its aspects.
The firstofficial attemptsatwar photographywere made bythe Britishgovernmentatthe start of the
CrimeanWar. In1854 GilbertElliottwascommissionedtophotographviewsof the Russianfortifications
alongthe coast of the BalticSea.
Whenand Where DidWar PhotographyEnd?
The firstwar photographerwasanonymousandtookphotosduringthe Mexican–AmericanWarof
1847. Thispersonisbelievedtobe American,andusedthe technologyavailable atthe time tocapture
war imagesindangerousterritory.The problemwiththe photographtechnologybackthenwasitused
silver-coatedcopperplatestodevelopphotos,whichtookseveral minutestoprocess,andwas
incapable of capturingmovement.
The effortdidnot go to waste,however,andwar photographygrew asa practice and evolvedwith
technology.Pictureswere of posingofficers,regimens,scenery,andbuildingsduringwartime.Inthe
late 1800s, some photographersevenrecreatedscenesof wartotry and capture the movementina
more controlledenvironment
RogerFenton wasthe firstofficial warphotographerandthe firstto attempta systematiccoverage of
war for the benefitof the public.Hiredby ThomasAgnew,he landedatBalaclavain1854. His
photographswere probablyintendedtooffsetthe generalaversionof the Britishpeopletothe war's
unpopularity,andtocounteractthe occasionallycritical reportingof correspondent WilliamHoward
Russell of TheTimes.The photoswere convertedintowoodblocksandpublishedin TheIllustrated
London News.Due tothe size and cumbersome nature of hisphotographicequipment,Fentonwas
limitedin hischoice of motifs.Because the photographicmaterial of histime neededlongexposures,he
was onlyable toproduce picturesof stationaryobjects,mostlyposedpictures;he avoidedmaking
picturesof dead,injuredormutilatedsoldiers.
Fentonalsophotographedthe landscape –hismostfamousimage wasof the areanear to where the
Charge of the LightBrigade tookplace.In lettershome soldiershadcalledthe original valley"The Valley
of Death",sowheninSeptember1855 Thomas Agnew putthe picture onshow as one of a seriesof
elevencollectivelytitled Panorama of thePlateau of Sebastopolin Eleven Parts ina Londonexhibition,
he took the troops'epithet,expandeditas The Valley of the Shadow of Death andassigneditto the
piece.

8. PhotojournalismandRobertCapa
The firstyears of war photographywere verydifficultanddangerous. Equipmentwasbig,heavy,and
bulkyandnot easyto carry around.Althoughthe photographerswere non-combatant,theystillmade
targetsof themselveswiththe camerasetups.
The term photojournalistwascoinedinthe 1980s, and continuestobe a popularfield.Throughoutthe
1900s, photojournalistscoveredall majorconflictsinthe world,theycontinuetodoso today.Many
have losttheirlivesintheirquest.
 One very famouswar photographerwasRobertCapa.Robertshotphotosof the SpanishCivil
War, the D-Day landings,fall of Paris,andmanyconflictsinthe 1950's. He waskilledbya
landmine inIndochinainMay 1954. One of hismost famousphotosis“FallingSoldier".
 Whenaskedwhatlife islike fora war photographer,Capareplied"It'snotalwayseasytostand
aside andbe unable todoanythingexceptrecordthe sufferingsaroundone."
Henri Cartier-Bresson
Henri Cartier-Bressonisconsideredtobe the fatherof true photojournalism
and masterof candidphotos.He wasa Frenchphotographerwhowasbornin 1908, and diedin2004.
He coveredthe SpanishCivil WarandWorldWar II,where hismostfamousphotoswere shot.He also
coveredthe Chinese Civil Warandmanyotherconflictsaroundthe worlduntil hisretirementin1970.