Another thing that Davidson did to better represent his “Subway” series was to photograph at different times during the day, to capture different scenes and characters:

He decided to standout than hide; instead of concealing his camera, he prominently displayed it. Davidson started playing at being a detective, channeling the idea in the subway that he was untouchable. To conquer his fears, he employed the stalking prey tactic when photographing the subway commuters. Bruce Davidson – Subway, 1980 Bruce Davidson – Subway, 1980 Overcoming fears Museum of Contemporary Photography". www.mocp.org. Archived from the original on 2018-12-31 . Retrieved 2018-12-30. Davidson's extended involvement with his subjects, and their reciprocal trust, is regarded as an exemplar in photography of the " New Journalism" based in authentic documentary content mediated through a subjective, personal perspective and characterised by representations of those who are not part of mainstream culture. For Laura Hapke he is an inheritor of a radical heritage in American working-class studies extending from Ben Shahn. [42]At 19, he won his first national recognition for photography for a picture of an owl. After completing his military service, Davidson worked as a freelance photographer and even became an associate member of the Magnum Photos agency in 1958 and a year later, a full member. At a Strand Q&A talk, one person in the audience asked Bruce Davidson his opinion on street photography and if he thought it was easier (or more difficult) to photograph nowadays. Davidson responds: I began to photograph the traffic islands that line Broadway. These oases of grass, trees, and earth surrounded by heavy city traffic have always interested me. I found myself photographing the lonely widows, vagrant winos, and solemn old men who line the benches on these concrete islands of Manhattan’s Upper West Side. Davidson must surely have been aware of Walker Evans's own series of subway photographs, which the older photographer began taking in 1938 but did not publish until 1966, in a volume entitled Many Are Called. Photographers of the American Social Landscape; Rose Art Museum, Brandeis University, Boston, Massachusetts [70]

The Retention Period depends on the type of the saved data. Each client can choose how long Google Analytics retains data before automatically deleting it. Diese Liste enthält alle (persönlichen) Daten, die von oder durch die Nutzung dieses Dienstes gesammelt werden. I feel just because we are street photographers doesn’t mean that we should always be hidden and stealth. Sometimes interacting with the people you photograph both makes you and them feel much more natural. I want to be discrete- so what I would do is go to a flower shop and take pictures of the owner of the flower shop – then I’d ask do you know anyone else in the street who would be interesting to photograph? Oh yeah we just delivered flowers to a 100-year old woman. So one thing leads to another – so you’re kind of like a reporter. So its like an anchor.”

Dealers

Then there’s the man who runs the luncheonette. He let me take his picture once, but I made it too dark and he never let me take his picture again. I know you’re prejudiced, he said, because you made it too dark. You make all the people here look too dark. When you make pictures look light, then I’ll put your pictures on the walls. But I know he likes me. He lets me use the bathroom in his luncheonette. He doesn’t let anyone do that. (East 100th Street) Chahroudi, M. (1987). "Twelve photographers look at us." Philadelphia Museum of Art Bulletin, 83(354/355), 1–31. Davidson, Emily S; Powers, Robert B (2012), Bobby's book (1sted.), Seven Stories Press, ISBN 978-1-60980-448-0

a b Riches, H., PhD. (2016). Strange and familiar: Britain as revealed by international Photographers/An ideal for living: Photographing class, culture and identity in modern britain. Afterimage, 44(3), 30–31.

a b c d e f Warren, Lynne; Warren, Lynn (2005), Encyclopedia of Twentieth-Century Photography, Taylor and Francis, ISBN 978-0-203-94338-0 One of Davidson’s most famous projects was Brooklyn Gangin 1959. One day, He read an article about a series of street fights in Brooklyn, and left the next day to Prospect Park to meet a group of youths called the Jokers.Over the years, several of the members of the Jokers succumbed to drugs or drug involved violence. Awoman named Kathy, staring at herself in a cigarette machine in one of his most famous photographs, shot herself with a shotgun. New York City. 1959. Brooklyn Gang. Coney Island. Kathy fixing her hair in a cigarette machine mirror. Photographs by Bruce Davidson and Bruce Davidson. Text by Bruce Davidson. Introduction by Fred Brathwaite. Afterword by Henry Geldzahler and Henry Geldzahler. Times of Change: Civil Rights. 1961-65. Alabama. Birmingham. 1963. Arrest of a demonstrator. “Damn the Defiant!”