Johann Martineau

Structures in Photography A study into how Raymond Depardon, Gabriele Basilico and Paul Strand explore

angles, line and tone within their work

In this investigation, I will focus on how photographers explore angles, lines and tone in their work to create structure in their photographs, making them more appealing and understandable to the viewer. I am going to look at three photographers whose work is dedicated to this theme to find out more about their technique and processes. I will begin by looking at the work of Raymond Depardon who specialised himself in symmetric work and lines in street photography in order to focus the eye and draw our attention to the beauty of the architecture and lives that are lived within it. After that, I will look in depth at the work of Paul Strand whose work focuses on architecture and people next to those buildings to send an important message of how people live in these environments. Finally, I will look in detail at the work of Gabriele Basilico who looks at pure architecture with a black and white tone and how he exposes these places to make them look abnormal or extraordinary. I am really interested in exploring, within my project, multiple buildings to show their real architectural potential to be more than practical, useful spaces and explore their impact on communities and the people who inhabit them; consequently, to put forward how symmetrical our everyday life really is. Looking at these artists and their photographs will give me inspiration and will ultimately help me gain inspiration for my own project.

Raymond Depardon Gabriele Basilico Paul Strand

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Section 1 : Raymond Depardon 1The first photographer I wish to explore is Raymond Depardon, born 6 July 1942 in Villefranche-sur-Saône, France. Depardon is a French photographer, photojournalist and documentary filmmaker. Inspirationally, given the excellence of his work, Depardon is a self-taught photographer. I was drawn to his observation that “It is necessary to like loneliness to be a photographer”.1 There is an intensity to this statement that suggests the power and motivation behind his work, and I believe we see this tension in his photography where the physical world comes into contact with man.

Depardon began taking pictures on his family's farm when he was around 12 years old and developed his skills with a

photographer-optician in Villefranche-sur-Saône before moving to Paris in

1958. I have often wondered whether the dual profession of his teacher contributed to the way he sees the world around him.

His career as a photojournalist began in the early 1960s and, in 1966, Depardon co-founded the photojournalism agency, Gamma, with Hubert Henerotte. In 1973 he became Gamma’s director. From 1975 to 1977 Depardon travelled in Chad and received a Pulitzer Prize in 1977 for his work - one of many awards in his lifetime. The year he left Gamma to become a Magnum Photos associate, becoming a full member in 1979.

In May 2012, Depardon was given the honour of being invited to take the official portrait of French President, François Hollande. While acknowledging the recognition this granted him, Depardon was a photographer of the world first, drawn to environments and faces.

With stories, rather than portraits; he once remarked: “I don't regret the numerous pictures of Brigitte Bardot, but I'd rather have a good photograph of my father”.2

Throughout Depardon’s photographic work exploring the world in which he lived, he was fascinated by urban landscapes and the small, sometimes overlooked details, of everyday life for everyday people. Once interviewed, he observed, “I feel confident about anodyne things, banal things, which become universal. I love understated moments…I take a tiny item from page six and put it at the forefront of page one.”3 Perhaps this is rooted in his work as a photojournalist, where, recording monumental events such as the aftermath of the Rwandan genocide or Nelson Mandela in the first days of his presidency, his pictures found the small details which expressed the humanity of the image, lifting it from mere media record. His multi-year photographic project, ‘La France de Raymond Depardon’ expresses this, as does the collection entitled, ‘Glasgow’. We also see demonstrated Depardon’s seeming rejection of full-on realism, so that where he chooses to work in colour, it is muted, softer, creating a timeless effect.

1 http://shooterfiles.com/2018/02/master-profiles-raymond-depardon/

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2Though influenced by the humanist movement including photographers such as Cartier-Bresson, we see recurring themes in Depardon’s work including the recording of ordinary people going about their lives against the background of architecture which is striking, powerful, often dominant; timeless against the transience of human life, within an “expansive use of space: exaggerated perspectives, big skies and the smallness of humans in the frame.”4

This first photograph shown below in the middle has no individual title and comes from a book of pictures, ’Glasgow’, which was not published until 2015, though the photographs were taken in 1980 in the Scottish city of Glasgow. It shows a young boy blowing a bubble with pink bubble gum on an urban, seemingly run-down street with two adults walking across it in the background. This is

my favourite from that collection.

Originally commissioned by The Sunday Times for a feature on overlooked tourist destinations in Europe, Depardon - ever the photojournalist and documentary maker - was instead, drawn to areas of the city where deindustrialisation and depopulation were starkly in existence. I sense that he was drawn to these often-troubled environments to capture the hidden life of Glasgow, just as he captured the human face of conflict whilst working as a photojournalist in war zones.

He captured an amazing picture with this boy who features in a number of photographs in the ‘Glasgow’ project. The artist tries to create a contrast with the childish boy figure and the harsh streets and life of a Glasgow citizen living in poorer, more trying conditions. Again, Depardon’s background in photojournalism and the conflicts he recorded, makes me consider conflict, both internal and external, that he pursues in his work.

In terms of photographic qualities, this image shows a strong composition and structure with the lines created within the picture by the street walls, the pavement and the angle where the

2 2.https://photofocus.com/inspiration/i-dont-regret-the-numerous-pictures-of-brigitte-bardot-but-id-rather-have-a-good-photograph-of-my-father-raymond-depardon/

3. http://povmagazine.com/articles/view/raymond-depardon-documentary-master

4. http://povmagazine.com/articles/view/raymond-depardon-documentary-master

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photograph was taken. The viewpoint that the picture was taken from is at eye level. The distance of the street creates a long and deep depth of field that makes the viewer impressed and want to know what the end of the street looks like. The colours are very dull except for the bubble gum that is in a bright pink colour. This creates a huge contrast between the dark colours and the bright ones in the picture, reflecting that sense of a slight removed from the harsh reality, a moment in time captured and preserved. The different material also impacts the contrast in this picture. The brick walls and the pavement structure the picture very clearly. The lighting style that the artist has used is natural lighting. The natural light shines in the direction of the brick wall and the sky reflects on the puddles which are on the street. Depardon used fast shutter speed because the people walking are sharp and distinguishable.

The second Depardon photograph I want to consider is also from the ‘Glasgow’ collection and, as with the previous photograph, has no individual title.

This picture is very different in feel. While the boy is mainly static, the character in this photo is clearly determinedly mobile. Although the background is reminiscent of the poverty of the previous photograph with its deeply urban and working-class appearance, the man here does not seem to belong to this world. He is well-dressed, with a paper under his arm and what appears to be a pen in his breast pocket. All these suggest an office-based job and consequently, one which is in control of those people who inhabit the previous photograph. The contrast between this middle-class figure creates a tension with the working-class environment that he rules. This is further heightened by the graffiti he is approaching, with the word ‘CLYDE” spray painted in white. This word has huge connotations of a harsh working-class world of Glasgow’s former glory of the division between the working class and those who manage them. It also, when positioned by this man, has a sense of rebellion and pride. When set aside the look on the man’s face which creates a feeling that he views all around him as disgraceful, Depardon captures the simmering conflict present in the dockyards of Glasgow.

This picture continues the black and white muted feel. The blue of the sky is not bright and we are not drawn to this colour as we were with the pink bubblegum. Even the clouds seem to reflect the tension of the subject matter and we still have the feeling of claustrophobia sensed in the previous photograph and created by the built environment. This is emphasised by the feeling of disorientation in the viewer created by an eye level perspective where ‘we’ are walking down the street, faced by the man walking up. The lines Depardon uses in this picture are the wall which bisects the picture and which is also used as a background for the man so we can see him more clearly; it also hides the

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harsh working environment of the dockyard. It separates two different worlds. This line is powerful and unforgiving. The cranes, rooftops and the factory chimneys introduce further lines. The street accompanies the chimneys which appear to be at the bottom. The main crane in the picture has a darker tone, paired with the darker clouds behind it, it stands out. It hints to the working class behind it and the fact that its line is in opposition to the wall, creates a tension that features throughout this picture.

3After looking at Depardon’s work, I decided to focus on structures and lines that are overlooked in everyday life. It made me think about how easy it is to overlook these things, but if you pay more attention to your surroundings, you will sometimes find incredible structures. This image shown below is my own in response to Depardon’s pieces. I took it in Paris in a street next to Notre-Dame, where people bought an apartment to live there. Most of the people living here often don’t

recognize the classic French architecture that makes this street so good-looking and unique. This is something that I am going to explore further within my practical project. I also intend to use a black and white filter to reproduce a dramatic effect in the same way as Depardon has.4

Section 2 : Gabriele Basilico

3 My own photgorahp taken in 2019 in response to the artist 4 https://uk.phaidon.com/store/photography/gabriele-basilico-9780714845678/

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The second photographer I wish to explore is Gabriele Basilico, born in Milan in 1944, Italy. Basilico is an Italian photographer. He defined himself as “a measurer of space”, which means that he could potentially see a tricky space he could photograph and would still capture the best part of it. The word “measurer” suggests to me a level control and we can see in his photographs that everything seems really perfect, with all angles lined up and the entire picture making sense, “with a precision and clarity that is almost alarming.”5

His past works focused on traditional landscape photography, but he later switched to architectural photography because of the influence of his previous studies in architecture. We also know that Basilico travelled a great deal and was commissioned by various governments to catalogue city landscapes. In addition, and in a similar way to Depardon, he documented critical world events such as the demolition of the Berlin Wall (1990) and post-war Beirut (1991).In terms of influences on Basilico, although his past works focused on traditional landscape photography, he later switched to architectural photography because of the influence of his previous studies in architecture.6 There was rarely any interest in the interior of the buildings and architecture he documented and any people within the photographs really only served to emphasise and exaggerate the enormity of what was around them. Most of Basilico’s work is with a traditional viewfinder camera with black and white film and often on a tripod with a black cloth. It was only in his later work that he made explorations into colour. This contrasts with Depardon who typically would have a hint of colour within his compositions, although they share the sense of the architecture overlooking the human.

The precision and intense care of Basilico’s work is shown in the observation by the scholar and curator, Francesco Bonami, who stated that in his urban landscapes, Basilico was "like a doctor examining a patient who has survived a deadly disease. He observed destruction and at the same time acknowledged the incredible possibilities offered by survival."7In terms of themes, Basilico focused almost exclusively on cityscapes and industrial and post-industrial sites. 8 Even though he avoids human presence in his work, there is always a sense of journeying through the urban landscape with the lines of architecture guiding us on the path.The first photograph I am going to look at is untitled and displayed within the collection, “Bord de Mer”. This project began in the 1980s when various international photographers were asked by the French government to record their own interpretations of the landscapes of France. Within this collection Basilico journeyed through areas including Brittany, Normandy and Picardy. 95

6This picture is divided into three parts: left, middle and right-hand side. Basilico has taken the picture in the middle of the intersection of this small, rural town or outskirts of a larger city, facing the built-up island which divides the two streets bringing them up to his position. He has taken the picture at eye level which allows us to relate more to the height of the picture taken and exaggerates the height of the two telegraph poles in the forefront of the middle section. There is also a sense that he used a wide lens because the picture captures quite an extensive amount of

5 https://www.bmiaa.com/gabriele-basilico-architecture-and-city-photographs-from-the- collections-of-maxxi/

https://www.theguardian.com/artanddesign/2013/feb/25/gabriele-basilico

6 https://www.artbook.com/catalog--photography--monographs--basilico--gabriele.html

https://www.archiportale.com/news/2012/11/eventi/gabriele-basilico-la-mostra-bord-de-mer- al-museo-pignatelli_30291_32.html

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landscape. On the other hand, Basilico may have edited it and zoomed in on it to only get the two streets and the building in front of him. This photography brilliantly illustrates Basilico as a “measurer of space”. If you look at the marked-up photograph, you can see that the whole picture has lines that intersect each other and create some sort of structure around the whole photograph. It also brings order to what at first observation, seems like a very hectic, frantic cityscape. These perfectly lined up lines create a more appealing look for the human eye because they are proportional and the whole structure is easier for the brain to decrypt.

This picture has been edited with a black and white filter that strengthens the structure of the elements appearing in this picture. The sky has a very muted feel with little hints of white clouds and we are not drawn to this colour. The shadows create a more serious tone which solidifies the lines that are structuring the picture and seem to darken it more than it should be. The bright natural light gives the picture a more greyish colour than the black and white filter should actually produce.

This photograph taken by Gabriele Basilico links very much to his themes of architecture as the focus of his work without having people to distract from what he sees. I like the fact that this is not a grand piece of architecture. The buildings appear old, simple, almost overtaken by technology, but the lines are still really strong and powerful to look at. The photograph also links to my structure theme in many different ways. First of all, the lines in this picture represent perfectly what the structure in a photograph is and how they correlate together to create an appealing and satisfying overall look. Secondly, the angle chosen fits with the lines matching up and shows the importance of choosing an angle that structures the photograph smoothly. Finally, the tone added to this picture simplifies the directions of the lines and the viewer can fully appreciate the architecture.

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The second photograph by Gabriele Basilico I want to look it is shown below and is part of the series titled “Milano ritratti di Fabbriche” (1978-1980) within the collection “Dancing and The City.” The picture was part of Basilico’s travelling and here he looks at the outlying districts of Modena, a city he photographed extensively. This collection was noted as marking a real shift in his work, where humans were removed completely. This allowed Basilico to explore the relationship between architecture and light, particularly when people did not confuse the view. It feels a more thoughtful picture than “Bord de Mer” and there is a quietness and calm created by the strength and power of the buildings we observe.

7

The angle of this picture is taken at eye level and has been taken in the middle of a street at the intersection. The element that has been photographed was taken further away than the previous one and this creates a larger depth of field. In addition, the perspective of the photo makes it seem like the viewer is overwhelmed by the abnormally high architecture.

This photograph also illustrates Basilico as a “measurer of space”. Again, if you look at the marked up photograph, you can see that every line shown down below is parallel or has an intersection with each other. The lines that go in depth from the top to the little house are the same form as the street where the photograph was taken and the two vertical lines help us structure the picture and look at the most important element, which is the street going further down into the alley.8

7 10 http://www.civico103.net/en/archive/10/dancing-and-the-city/#.XWhSTi2ZOjg

8 http://www.abitare.it/en/habitat-en/urban-design-en/2017/10/04/gabriele-basilico- photography-city/?refresh_ce-cp

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The picture is in black and white which we would expect because Basilico did not start work with colour until around 2010. Just like the other picture, the tone in this picture reinforces the structure and helps us admire the architecture more. The natural light that brightens up the buildings creates this tall effect because if the light was interrupted by shadows and people, we would not see the effect of the height of these buildings. If there was a person walking down this street the buildings may not look as big because of the perspective. Also, there are cars at the very end but none in the foreground so it does not take away from the size of the building. The source of light seems to be coming from the left, behind the viewer. The picture is very bright and the street remains light the whole way down. Darkness comes from the sides of the building, particularly the one on the left which is almost entirely in shadow.

I feel this photo far more than the first photograph, shows Basilico’s fascination with space, his respect and admiration for architecture and cityscapes. The composition of this picture really demonstrates Basilico’s observation, published in Constrasto in October 2013 that, “The job of the photographer is to work on distance, to take the measure of things, to find a balance between a here and a there, to reorganise the space, lastly to find a possible sense of the place”.

9In terms of my work, I really like the strength and clarity of his photographs. They seem quite masculine in the way they are stripped back to the manmade elements of the view and there is no distraction from any human

9 My own photograph taken in 2019 in response to the artist

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activity. The architecture is the star. In my work, I would like to create such a strong composition as he does and the same depth of field which draws my viewer in and starts to create a story. I was working on this idea in my photo below and will apply a black and white filter.

Section 3 : Paul Strand

The final photographer I want to explore is the American, Paul Strand.

Nathaniel Paul Stransky was born in New York to German-Jewish parents in 1890. Similar to Basilico and Depardon, Strand began photographing the world around him from a very young age, when his father gave him his first camera aged just 12. However, Strand’s real fascination with photography didn’t take off till after he had left high school in 1907 when he attended a photography club at the Ethical Culture School. With this club, he visited the 291 Gallery in Midtown Manhattan which led him to “declare his intention to become an artist in photography. 10

This idea of being an “artist” in the photographic world was something which made him very different to other photographers. He is often called the “architect of the so-called Straight Photography”. This was a very pure style that used large format cameras to record and tried to bring new perspectives to ordinary subjects. 13

11There were two very clear influences on Strand: Lewis Hine and Alfred Stieglitz. Both of them were pretty opposite to each other. Hine taught Strand in High School and was a social reformer. We can see this influence in Strand’s belief that art should “engage the spectator spiritually and socially.” 14 He was also influenced by Stieglitz who ran the 291 gallery he had visited with his club. By the time the two met, Stieglitz had rejected Pictorialism and pushed Strand to look at the world really closely. Strand believed that the composition of a photograph could be broken up and we can see the

influence of the Cubist painters like Cezanne and Picasso. He was seen as paving the way for the Modernist movement.12

There are three very clear themes in Strand’s work: movement in the city, abstractions, and street portraits.

10 https://www.theartstory.org/artist/strand-paul/11 https://aperture.org/shop/paul-strand-wall-street-new-york-1915-photograph/12 https://huxleyparlour.com/artists/paul-strand/

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Unlike Basilico, he does not want to keep humans out of his photographs. They become part of the composition.

The first photograph I want to look at is “Wall Street” (1915). This is a platinum palladium print photograph. There are only two vintage prints of this picture. One is at the Whitney Museum of American Art and the other is at the Philadelphia Museum of Art. It is viewed as an “icon of modernism” and "[This image] did much to lead American photography toward sharp-focus realism as well as abstraction, toward urban subjects and the machine aesthetic." —Milton W. Brown. It shows people going to work and the building is the JP Morgan building in New York City. This photo really shows Strand’s Straight Photography. There is no real focal point in the photo. The building is very powerful and the people are blurred, making it seem very realistic. This shows Strand rejecting Pictorialism.

It is really difficult to find the angle in this picture because we don’t have any orientation or any hint on where it has been taken from. It does seem that we are higher than the people in the picture, so maybe Strand took it from a window opposite which would also help to explain why the content seems so far away. The photograph has not been taken parallel to the street and it looks as if it has been taken from a bird’s eye view.

The lines in this picture are pretty easy to find, much easier than with Basilico. The lines are all parallel and intersect, so it is a pretty straightforward structure. The picture almost looks like a grid and the lines compose it rigidly. This solidness contrasts with movement of the citizens walking next to the building.

The picture has a vintage look which reinforces the shadows appearing in this picture more strongly. The natural light also plays a role with the tone because it faces the citizens’ front and and does not directly hit the building. The light also reinforces the appearance of the citizens walking, as it makes their back dark as the front is in full light. The tone is sepia and this could be because of the age of the camera. The dominant colour is grey with an orange hint which suggests the light of morning and we can see that the citizens are dressed smartly, perhaps heading to work.

This picture certainly shows Strand’s themes of movement in the city and street portraits. It captures a moment in time on Wall Street. In terms of my own work, Strand certainly influences my perception of movement in structural photography. Even if it is a building photograph, I could still incorporate human movement to solidify this perception. Also, the natural light plays a big role and is important because it can reinforce the structure of the picture and could add more lines to the building that was originally meant to be photographed.

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The second Paul Strand picture I want to look at is an untitled photograph from Strand’s abstract work with architecture, working with light and shadow. From 1916 onwards, Strand tried to give his understanding of Cubist art, a photographic form. The result was a collection of photographic explorations, challenging our perspectives and objectivity and presenting “photography’s inherent qualities as art.”18 We see here how Strand does not depend on obvious or recognizable locations but experiments with the relation of light and shadow and how that creates form. In the early 20th century, experiments with abstract form in photography “introduced a new way of seeing.”19 Devoid of movement or human presence, we are left to consider the power of this abstraction and to appreciate the patterns, structure, balance and certainty of this element in Strand’s work. We appreciate the beauty of the composition without having the distraction of the actual location.

Unlike the first picture, the angle of it is clearly at eye-level at one end of this colonnade. It has been taken in the middle and facing the one exit of this outdoor passage. Even though the photograph is being taken from a central position, we feel that the photographer is in the shadows. Even though it is at eye-level, the roof seems taller than it should be and makes the corridor look more majestic.

There are so many lines in this! Even the shadows are lines - every single shadow in this photograph is a line. The hallway has lines itself, but Paul Strand made the shadows align perfectly with the original lines. This reinforces the strength of the lines. It creates a feeling of an optical illusion as we don’t know really, where the solid starts and finishes, particularly on the left-hand side of the photo. This gives the picture a huge feeling of depth and endlessness with the pattern the lines create. Even on the ceiling, the lights create a line towards the end of the hallway where, in the distance, a window with rectangular panes introduces even more lines.

The picture seems to have been taken using the contre-jour technique as the light is brighter than we would expect it to be. It is white and remains like this throughout the picture. Although the ceiling is dark grey, the tones are mostly black, ranging from solid black on the floor to bright white. The reflection makes the unlit parts of the hallway more clear and distinguishable.

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13Unlike “Wall Street”, this picture seems to deal with the theme of abstractions. We definitely sense that this is in the city, but there are no identifying marks and Strand seems more concerned with shadows and light created by the structure. The photo looks more like a painting and the emptiness and loneliness obligate us to fully concentrate on the structure and the lighting details.

14Looking at this particular picture, I discovered how lighting can impact a photograph immensely and how it completes a photograph. Without the use of light, this picture would have a much less dramatic appearance. It

has made me consider how light itself can be the subject matter of a composition rather than just being there to facilitate other elements in the picture.

Depardon, Basilico and Strand all share features in their work, as well as being easily identifiable.

Depardon’s work is very different from Basilico’s in many different factors. Depardon uses people and city life to send a message to the viewer about ordinary people going about their daily lives and the passing nature of that life. In contrast, Basilico is more concentrated on architecture and proportions. Basilico mostly adds a black and white filter on his photographs, whereas Depardon adds dull colors to his work. However, they both have a clear structure in these photographs, although Depardon uses a more elaborate way to make it more complex. Basilico focuses more on aesthetic than hidden messages, as Depardon does.

13 My own photograph taken in 2019 in response to the artist14 My own photograph taken in 2019 in response to the artist

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If we compare Depardon and Strand, they are perhaps closer than Depardon and Basilico. For example, they both involve the use of human life in their projects and imply a hidden message to their artwork that is driven by their key themes. They also both use a straightforward structure allowing us clearer understanding of their line and angle. However, we can also find differences in their work. Depardon uses dull colors, as mentioned above, while Strand adds on black and white filters or vintage ones. In addition, Strand leans on optical illusions compared to Depardon who has more of a classic style of photography. Also, Strand somehow makes buildings taller and more impressive than Depardon, who makes them look normal to our gaze. This would fit with the way Depardon views buildings as architecture for human consumption, whereas Strand views them more as the highlight of his photography.

Comparing Basilico and Strand, we find further similarities and differences. Basilico focuses overall more on the architecture that he discovers while wandering through the city streets. In contrast, Strand discovers interesting angles and empty spaces. Although both photographers work with depth of field, there is more a sense with Strand that he is searching for the geometrical pattern of the architecture rather than the architecture itself. We also see that Strand plays around with natural light and shadows to create the pattern and strength of line, whereas Basilico highlights the buildings with strong natural light so that there is more detail to the overall structure of the feature being photographed. Basilico photographs naked landscapes with a less strong composition than Strand who fortifies his composition by controlling the light patterns. Within this exploration, it has become very clear to me that when looking at structures within photography, it is not only architecture that we look at. It is a way of showing proportions, lines and angles that can be demonstrated with different forms of photography techniques. Every artist that I have looked at through this essay has a different way of representing structure in their photography artworks. I have been engaged by the presentation of architecture in both cityscapes and more rural settings and with Strand, have been fascinated by the way in which he can present architecture as an artform, a pattern, one where the viewer almost has to work out what is light and what is solid. I

have also appreciated how the photographers’ relationship with the structures they present illustrate how human-built facilities can fill, complement and enhance the landscapes and humans’ capes with which they co-exist. At no point did it

feel that the architecture and structures being photographed had imposed themselves on the worlds in which they existed. Instead, there was for the most part, a comfortable co-existence of building and Man. I also found of particular interest in Strand’s usage of natural light and how he can deepen his work. In terms of my own work, these artists have had a huge impact on my thoughts on

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structure photography and how many ways there are to explore different elements to enrich the picture and create more complexity, making the viewer more interested. I have come to realise that this strand of photography is not really just about the physical building and its obvious environment, it is much more than that. It asks us to look for patterns, to look at how everyday life intersects and uses these structures, to look at how those structures relate to and are affected by the influences that affect them daily whether Man or Nature. These artists have helped me understand that in my photography I can get to understand the world I live in just a little bit better. These artists have helped me appreciate that in the words of Alfred Stieglitz, “In photography there is a reality so subtle that it becomes more real than reality.”

BIBLIOGRAPHY

1. http://shooterfiles.com/2018/02/master-profiles-raymond-depardon/

2. https://photofocus.com/inspiration/i-dont-regret-the-numerous-pictures-of-brigitte-bardot-but- id-rather-have-a-good-photograph-of-my-father-raymond-depardon/

3 http://povmagazine.com/articles/view/raymond-depardon-documentary-master

4 http://povmagazine.com/articles/view/raymond-depardon-documentary-master

5. https://uk.phaidon.com/store/photography/gabriele-basilico-9780714845678/

6https://www.bmiaa.com/gabriele-basilico-architecture-and-city-photographs-from-the- collections-of-maxxi/

7. https://www.theguardian.com/artanddesign/2013/feb/25/gabriele-basilico

8. https://www.artbook.com/catalog--photography--monographs--basilico--gabriele.html

9.https://www.archiportale.com/news/2012/11/eventi/gabriele-basilico-la-mostra-bord-de-mer- al-museo-pignatelli_30291_32.html

10 http://www.civico103.net/en/archive/10/dancing-and-the-city/#.XWhSTi2ZOjg

11 http://www.abitare.it/en/habitat-en/urban-design-en/2017/10/04/gabriele-basilico- photography-city/?refresh_ce-cp

12. https://www.theartstory.org/artist/strand-paul/

13. photopure.htm

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14. https://huxleyparlour.com/artists/paul-strand/

15. https://aperture.org/shop/paul-strand-wall-street-new-york-1915-photograph/

Structures in Photography A study into how Raymond Depardon, Gabriele Basilico and Paul Strand explore

angles, line and tone within their work

Johann Martineau