A statement on photography by Bill Brandt
I had the good fortune to start my career in Paris in 1929. For any young photographer at that time, Paris was the centre of the world. Those were the exciting early days when the French poets and surrealists recognised the possibilities of photography.
There were the surrealist publications, Bifui, Varietes Minotaure and others, the first magazines to choose photographs for their poetic quality. There were the surrealist films such as Bunuel's notorious Le Chien Andalou and L'Age d' Or, which had a strong effect on photography. One could say that it was now that modern photography was born.
Atget's work was at last being published. He had died almost unrecognised, two years before. Brassai, Kertesz and Cartier-Bresson were all working in Paris, as well as Man Ray. Man Ray, the most original photographer of them all, had just invented the new techniques of rayographs and solarisation. I was a pupil in his studio, and leamed much from his experiments.