Word: kertesz
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Like so many photographers of his day, and not just of his day, Brassai occasionally posed some of the people in pictures that look at first glance like candids. By the 1930s, photographers like Andre Kertesz and Henri Cartier-Bresson had begun to use the new 35-mm handheld Leicas, equipment that could capture fast movement. Brassai persisted in working with a Voigtlander Bergheil. A camera that used small glass plates instead of film--Brassai would eventually adapt it for conventional film--it required a tripod and long exposures. That in turn meant that his subjects usually knew they were...
...Italians were all leaving for the suburbs. So Weegee moved on too. Until his death in 1968, he devoted himself to 16-mm film projects and darkroom tricks that turned people into fun-house mirror caricatures, work of a kind that had been done earlier by Andre Kertesz and more effectively by Bill Brandt...
...Alfred Barr Jr. of Manhattan's Museum of Modern Art. Visas, stamps and bureaucratic routines took on a disproportionate significance, as they always do for the marginal. After the U.S. entered the war in 1941, the foreignness of some artists counted against them even more: the Hungarian photographer Andre Kertesz fell under suspicion of being a spy, and Max Ernst was briefly declared an enemy alien. It wasn't easy to keep a group together in exile: the Surrealists found this in New York City, which had none of the informal meetingplaces they were used to in Paris...
...Picture Post (edited by Stefan Lorant) and the elegant French magazine Vu drew upon a breed of independent artist-photographer, often with one foot in Bohemia, to capture the arresting aspect of the everyday. Among the foremost practitioners were the German emigre Tim Gidal and Hungarian-born Andre Kertesz, whose enigmatic views of the Eiffel Tower and Paris streets imbued any human presence with an ephemeral tension...
...chief signifiers of the modern temper. But judged by the canons of good photography, those pictures looked fumbled, invertebrate. Klein's anarchic strengths went unappreciated by eyes looking for nice tonal gradations and the standard ironies. Where were the compositional ligaments that held even the airiest Andre Kertesz photo in an iron fist? Where was the fine printing? For that matter, where was the subject...