Take lots of images as Cartier-Bresson did if you inspect his contact sheets. I think people including myself misinterpret what Cartier-Bresson said and intended. Therefore I think the decisive moment includes 3 key elements:
Throughout his childhood, Cartier-Bresson was interested in the arts. He was influenced by his father, a respected and wealthy textile merchant and his uncle, an accomplished painter. As a young boy Cartier-Bresson read the literature of the day by authors such as Dostoyevsky, Rimbaud, Proust, and Joyce.
In addition to literature, he intensely studied painting. By he painted under Andre Lhote. Lhote was a conservative; Cartier-Bresson had always been restless and conservatism did not suit him. It was also a time when many artists were experimenting to further the theory of art.
He befriended Rene Crevel and soon began to practice surrealism. I was marked, not by surrealist painting, but by the conceptions of Breton, which satisfied me a great deal: In Cartier-Bresson attended Cambridge University, England, where he studied literature and painting. It was here that he was introduced to film and photography.
By he began to take photography seriously. InCartier-Bresson discovered the hand-held Leica camera and was practically consumed by the new art form. He made the conscious decision to pursue photography as a career. I kept walking the streets, high-strung, and eager to snap scenes of convincing reality, but mainly I wanted to capture the quintessence of the phenomenon in a single image.
Photographing, for me, is instant drawing, and the secret is to forget you are carrying a camera. And if I make a judgement it can only be on a psychological or sociological level.
There are those who take photographs arranged beforehand and those who go out and discover the image and seize it.
For me the camera is a sketchbook, an instrument of intuition and spontaneity, the master of the instant, which in visual terms, questions and decides simultaneously. Thus evolved a theory, not entirely his, but definitely practiced by Cartier-Bresson and forever associated with his name, the decisive moment.
The original phrase came from Cardinal de Retz who stated everything in the world has its decisive moment. Roaming the streets, Cartier-Bresson would photograph moments most eyes would surpass for everyday life, but to him these were the true moments of human existence.
The majority of his work was commissioned and sent to magazines for publication, but Cartier-Bresson was dedicated to the art of photography and was also exhibited in several galleries, the first being the Julian Levy Gallery in New York.
He also worked on documentary films in Spain.
With the onset of war, Cartier-Bresson entered the French military as a photographer. Captured in Germany inthree attempts and three years later, he escaped. This experience colored a new perception on life, a new appreciation of people.
Thus, he began a new photographic series of portraiture. Success in portraiture is often measured by how well the photographer captures the spirit of the sitter, and it came naturally for Cartier-Bresson.
Cartier-Bresson had remained true to the surrealist thought untilthen influenced by Robert Capa, Cartier-Bresson changed his overall vision and approach to photojournalism. This was not such a dramatic departure from the first 15 years of photographic work, which had been documenting moments in everyday life.
The picture-story involves a joint operation of the brain, the eye, and the heart. The objective of this joint operation is to depict the content of some event, which is in the process of unfolding, and to communicate impressions. Sometimes a single event can be so rich in itself and its facets that it is necessary to move all around it in your search for the solution to the problems it poses—for the world is movement, and you cannot be stationary in your attitude toward something that is moving.
Photojournalism, at its peak during the early- to-mid s posed problems of its own. The demand by magazines for photographers to record the events and people of the world grew tremendously at the turn of the century.
It became big business, and with big business came complications for photographers.
Most magazines, either through commissions or freelance, required the photographer to give up the rights to their images submitted. It was and still is an organization that maintains the rights of photographers who submit images to magazines.
The organization currently has four offices:Throughout the history of photography, certain artists have withstood the test of time, with Cartier-Bresson at the top of the list. We take a look at the life, work, advice, and lasting influence of this godfather of candid photography.
Henri Cartier-Bresson was one of the first street photographers who deeply inspired my photography and work. Of course– whenever you Google “Street photography” he is always the photographer that comes up the first (then the fact that he shot with a Leica camera, which takes a lot of photographers, including myself, down a rabbit hole of.
Henri Cartier-Bresson is a master for any photographer who calls themselves a documentary photographer or a ‘photojournalist’. For the first time since his death in , his work is presented in a complete retrospective in Europe at the Centre Pompidou in Paris.
During six extended visits that Henri Cartier-Bresson made to India, first at the time of Independence, up until his most recent visit in , he produced a body of work that reflected his love of and fascination with the country.
Throughout the history of photography, certain artists have withstood the test of time, with Cartier-Bresson at the top of the list. We take a look at the life, work, advice, and lasting influence of this godfather of candid photography.
Read the original and often misinterpreted text where Henri Cartier-Bresson explained his idea of decisive moment Paris’ Centre Pompidou is currently offering its visitors a retrospective of French master photographer Henri Cartier-Bresson‘s We work in unison with movement as though it were a presentiment on the way in which life.