Take for example an exhibition about to open at the Tate Modern called, Exposed: Voyeurism, Surveillance and the Camera. The exhibit focuses on what’s probably my favorite type of photography, “pictures made on the sly, without the explicit permission of the people depicted.” Some highlights:
![Couple Kissing, Girl Staring at Camera, Tortilla Factory](http://img.photobucket.com/albums/v647/sidd994/New-York-1969-Garry-Winog-003.jpg)
New York (Couple Kissing, Girl Staring at Camera, Tortilla Factory), by Garry Winogrand, 1969
![Amos Gexella](http://img.photobucket.com/albums/v647/sidd994/Amos-Gexella-001.jpg)
A young man called Amos Gexella looks back towards safety while perched on the sixth-floor balcony of a building in downtown Johannesburg, 4 August 1975. An estimated 2,000 onlookers yelled: "Jump! Jump!" Two hours later, Amos rolled off the parapet and fell to his death.
![Walker Evans](http://img.photobucket.com/albums/v647/sidd994/Street-Scene-New-York-192-004.jpg)
The master, Walker Evans, Street Scene, New York, 1928. But you can't talk about Evans and not mention what I consider his masterwork, Many Are Called
Mandatory for anyone even remotely interested in photography.
Then I came across an article from The Guardian about Bruce Davidson and was blown away by the accompanying photograph.
![Beautiful Cathy](http://img.photobucket.com/albums/v647/sidd994/Bruce-Davidson-photograph-004.jpg)
'Beautiful Cathy was always there, always sad' ... the Brooklyn Gang. Photograph: Bruce Davidson/Steidl
But it just kept coming. In the mail I got the new Art Institute Member Magazine with an amazing Henri Cartier-Bresson photograph on the cover announcing an upcoming exhibition.
![New York City](http://img.photobucket.com/albums/v647/sidd994/New-York-City-1946-001.jpg)
I could leave it at that, but I feel as if I was cheating if I didn't mention two of my favorite photography books that cover the same styles and themes, Weegee's World
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