Henri Cartier-Bresson: Vélodrome D’Hiver It’s almost unthinkable that any of Henri Cartier-Bresson’s photographs could ever have gone unpublished. The father of modern photojournalism had such a natural and easy understanding of his craft that all of his images offer the viewer snippets of an intriguing story – a slice of everyday narrative – rendered with the kind of precision that hoards of photographers since have sought to mimic. But in fact this is not the case. Until this month his sensational shots of the Vélodrome D’Hiver, from Paris 1957, have been lost to all but the most privileged eyes at Magnum .
Rare signed photos by photography legend Henri Cartier-Bresson – who gave them to a Paris printer he used for 30 years – are set to raise hundreds of thousands of dollars. Picture credit: Henri Cartier-Bresson, courtesy Christie's New York Cartier-Bresson gifted the images to Voja Mitrovic, a printer who worked at the Picto photo lab in Paris, in recognition of him being one of the best printers of his work. Mitrovic, an immigrant from the former Yugoslavia, had become friends with the photographer within months of him starting work at the lab in 1967. The prints are due to be sold at Christie's in New York on 4 and 5 October.
A free photography exhibition at Somerset House: 8 November 2012 - 27 January 2013 Positive View Foundation announces its inaugural exhibition Cartier-Bresson: A Question of Colour, to be held at Somerset House, 8 November 2012 – 27 January 2013. Curated by William A. Ewing, the exhibition will feature 10 Henri Cartier-Bresson photographs never before exhibited in the UK alongside over 75 works by 15 international contemporary photographers, including: Karl Baden (US), Carolyn Drake (US), Melanie Einzig (US), Andy Freeberg (US), Harry Gruyaert (Belgium), Ernst Haas (Austrian), Fred Herzog (Canadian), Saul Leiter (US), Helen Levitt (US), Jeff Mermelstein (US), Joel Meyerowitz (US), Trent Parke (Australian), Boris Savelev (Ukranian), Robert Walker (Canadian), and Alex Webb (US). The extensive showcase will illustrate how photographers working in Europe and North America adopted and adapted the master's ethos famously known as ‘the decisive moment' to their work in colour.
This is going to be a slightly unusual Sunday Salon. The notion of doing a thorough salon on Henri Cartier-Bresson is too daunting. There’s simply far too much to cover—too much photography, too much of a life. To do even minimal justice to his life and work would require at least two—possibly three—normal salons. Instead, I’m going to narrow the scope of this salon.
Henri Cartier-Bresson ' 50 s The French photographer Henri Cartier-Bresson (1908 – 2004) was influential in ways and on a scale that, in all likelihood, will never be repeated or matched by any other practitioner of the craft. So much of what the world now knows and recognizes as photojournalism, after all, was originally shaped by Cartier-Bresson’s work in the 1930s, and especially by the methodology he developed and pursued with his peers Robert Capa and David Seymour, or “Chim”: incessant travel, always with camera in hand; the search not for mere adventure, but for meaning in both conflict and in utterly quotidian calm; and finally, the hunt for specific, never-to-be repeated scenes, instances, gestures that would, in less than a heartbeat, tell a tale that no moving image or written word could possibly surpass.
Henri Cartier-Bresson is one of the most famous photographers in history. In fact, we’ve written about him as a famous photographer before. Cartier-Bresson was the co-founder of Magnum (a photo agency of the day) who brilliantly captured the events and spirit of the 20th century. His life was packed with adventure and excitement, which he translated into the body of work that we all love. But have you ever wondered what Cartier-Bresson could teach you, to help you reflect on your own work and become a better photographer? I was checking out a book of his images the other day and began wondering what some of these lessons might be.
Interview with Henri Cartier-Bresson – Famous Photographers Tell How (1958) HCB: To me, photography is a simultaneous recognition in a fraction of a second of a significance of an event as well as of a precise organization of form which gives that event its proper expression. I believe that, for reactive living, the discovery of oneself is made concurrently with the discovery of the world around us, which can mold us, but which can also be affected by us.
August 4, 2004 orrection Appended Henri Cartier-Bresson, who used his tiny, hand-held 35-millimeter Leica camera to bear humane witness to many of the 20th century's biggest events, from the Spanish Civil War to the German occupation of France to the partition of India to the Chinese revolution to the French student uprisings of 1968, died on Tuesday at his home in Southwest France. He was 95. A private funeral was held yesterday, according to a statement from his family and Magnum, the photo agency he helped establish.
"H enri Cartier-Bresson: The Impassioned Eye" is not a documentary in any of the many accepted forms we know. It is not the documentary I would have made had I the same material at my disposal. This aside, as short a film as this is — it runs 72 minutes — and lacking the context it deserves and should have had about the man and his life, it gives us a fascinating insight into one of the greatest photographers who ever lived. Henri Cartier-Bresson's legacy is enormous as a photographer and a man, and for the many photographers he influenced in his long life.
Of all the masters of the camera who passed away this year, none was as influential or renowned as Henri Cartier-Bresson, among the towering figures of 20th-century photography. As we look back on the milestones of 2004, it seems fitting to pay homage to H.C.B., who died in August at age 95. Below, we reprise an article written for Vanity Fair by the magazine's editor of creative development, David Friend, a frequent contributor to The Digital Journalist. The piece, published in March of 2003, was the first major profile that Cartier-Bresson had granted in years. The occasion: the opening of the photographer's foundation in Paris. Copyright © 2003 Condé Nast Publications.
The Decisive moment A recording of that one moment in time when all the elements line up to allow the artist to capture the perfect combination of light, shadow, color, action, expression and emotion to form the perfect image. A moment that can be expected maybe anticipated but not created. For if the image is created, as in the studio, it can be recreated time and time again and is not a fleeting moment in time. Since a decisive moment is unplanned and involves action or the temporary positioning of key elements it typically refers to dynamic developing situations. The term Decisive Moment was first coined by the noted French photographer Henri Cartier-Bresson considered by many to be the father of modern photojournalism Cartier-Bresson’s, The Decisive Moment, 1952 contains the term “the decisive moment” now synonymous with Cartier-Bresson: “There is nothing in this world that does not have a decisive moment.”
Henri Cartier-Bresson began traveling in 1930, at the age of twenty-two. For nearly half a century he was on the road most of the time, and the geographical range of his work is notoriously wide. Its historical range is just as broad—from ancient patterns of preindustrial life to our contemporary era of ceaseless technological change. In the realm of photography Cartier-Bresson's work presents a uniquely rich, far-reaching, and challenging account of the modern century.
French photographer Henri Cartier-Bresson, the father of modern photojournalism, has inspired plenty of photographers. His raw images capture the emotions of his subjects and his photo compositions are phenomenal. Read more about Henri Cartier-Bresson and his street photography. Henri Cartier-Bresson was a photographer who started out as a painter. Because of his interest in capturing intimate moments in the lives of people around him, he got into street photography. Most of the photos that he takes are of big events, wars, clashes in society, and other interesting subjects.
— For Craig Semetko Understanding Henri “Do you see it?”