ABSTRACT
This chapter is designed to make the people aware of that zone as an active space. For the photographer roaming the streets in search of images, Cartier-Bresson thought that there was a particular moment when everything coalesced—a coincidence of elements, a transcendent accident that could result in a photograph. Many of the pictures discussed in this chapter, can be considered within the framework of documentary photography, a practice most clearly and extensively defined in the 1930s, by the work of Walker Evans, Dorothea Lange, Russell Lee, Esther Bubley, John Vachon, Arthur Rothstein, and others. The subjects of Tillim’s photographs are firmly situated in these now deteriorating buildings, whose architectural idealism dates from the early years of African independence. Mikhailov has written that the homeless are either totally ignored or randomly kicked or shoved into the street.
