Henri Cartier-Bresson "Pen, Brush and Camera" 1998 Full Length. November 2010, Henri Cartier-Bresson @ Peter Fetterman Gallery. MY TIME WITH HENRI CARTIER-BRESSON. AFTER GRADUATING IN 1963 from the Faculty of Fine Arts, University of Baroda, India I was lucky enough to be selected by Gira Sarabhai to train as an “apprentice” at the newly formed National Institute of Design in Ahmedabad, India.
And therein lies the story of my valued memories of Henri Cartier-Bresson. The plan was to select a cohort of talented Fine Arts and Architecture graduates and to apprentice them in various design disciplines in order to become the future faculty of the National Institute of Design. During those amazing early years the giants of contemporary design from all over the world were invited to the Institute, staying on for months, even years at a time, as teachers and mentors, consultants and project heads. Who came? HENRI CARTIER BRESSON – INTRODUCTION 1952. HENRI CARTIER BRESSON (August 22, 1908 – August 3, 2004) Thinking should be done beforehand and afterwards never while actually taking a photograph.
Success depends on the extent of one’s general culture, on one’s set of values, one’s clarity of mind and vivacity. The thing to be feared most is the artificially contrived, the contrary to life. HENRI CARTIER-BRESSON ON THE ART OF PHOTOGRAPHY, (an interview by Yvonne Baby), Harper’s Magazine, November 1961, p. 74. INTRODUCTION 1952 The Decisive Moment, New York, Simon & Schuster. I, like many another boy, burst into the world of photography with a Box Brownie, which I used for taking holiday snapshots.
Then there were the movies. Photographic Psychology: The Decisive Moment. I dedicate this article to the memory of Richard Zakia, whose support and insights made it possible.
This research was funded by a grant from Rider University. In 1952 Henri Cartier-Bresson, a founder of modern photojournalism, proposed one of the most fascinating and highly debated concepts in the history of photography: “the decisive moment.” This moment occurs when the visual and psychological elements of people in a real life scene spontaneously and briefly come together in perfect resonance to express the essence of that situation. Some people believe that the unique purpose of photography, as compared to other visual arts, is to capture this fleeting, quintessential, and holistic instant in the flow of life. For this reason, many photographers often mention the decisive moment, or similar ideas about capturing the essence of a transitory moment, when they describe their work.
Street Photography Composition Lesson #3: Diagonals. For today’s street photography composition lesson, we will discuss a compositional rule that is simple enough: the diagonal.
Credit goes to Adam Marelli for teaching me about this important design element which can help street photographers all around the globe. Diagonals are one of the strongest and most fundamental compositional elements– something that we all know quite well. There are 3 types of main lines: the horizontal, vertical, and diagonal line. They also go in degrees of intensity (the horizontal line being the least dynamic and the diagonal line as the most dynamic). Cartier_Bresson_Handshake1_8bit. Famous, Infamous and Iconic Photos.
Henri Cartier-Bresson Quotes (Author of The Mind's Eye) Henri Cartier-Bresson - A French Photographer - The Father of Modern Photojournalism - Photography Quotes. Quotes Books Articles Interviews Photographs Send us some feedback | Sign Guestbook | View Guestbook Contact Us | Add Quote | Advertise | Home | Random Quotes All design by PhotoQuotes.com © 1997 - 2010 PhotoQuotes.com - All Rights Reserved info@PhotoQuotes.com Recommend this site to your friend Canvas Prints PhotoQuotes on Facebook PhotoQuotes on Twitter.
Bresson. There are giants in this world.
Each discipline and art has them. In photography one of the towering names is Henri Cartier Bresson. This year marks his 95th birthday, and though he's still very much alive his days are a photographer are over. Cartier Bresson stopped actively doing photography in the early 1970's and for the past 30 years has devoted himself to his other passions, drawing and painting. In fact, he is quoted as describing photography as "fast drawing". Aperture magazine has a feature on Cartier Bresson in its current issue (#171, Summer - 2003) and there is a major retrospective show at the Bibliothèque Nationale in Paris, April 29-July 31. The F-Stops Here - Street photography: crop or crap? HCB Never Cropped His Photos – Except He Did.
Tips > Cropping Thoughts. One learns to avoid mentioning certain topics with people that you don't know well, such as: • Religion • Politics • Cropping.
Cropping? Yes, mentioning cropping can bring forth much bile and blather. Two at the Extremes. 10 Things Henri Cartier-Bresson Can Teach You About Street Photography. Henri Cartier-Bresson: 'There Are No Maybes' Henri Cartier-Bresson: Living and Looking. The journalist and filmmaker Sheila Turner-Seed interviewed Henri Cartier-Bresson in his Paris studio in 1971 for a film-strip series on photographers that she produced for Scholastic.
After her death in 1979 at the age of 42, that interview, along with interviews that Ms. Turner-Seed had conducted with Bruce Davidson, Cornell Capa, Lisette Model, W. Eugene Smith, Don McCullin and others, sat like a time capsule in the archives of the International Center of Photography in New York. That is, until 2011, when Ms. Turner-Seed’s daughter, Rachel Seed, learned of their existence and went to I.C.P. to study the tapes. Ms. The following interview was transcribed from tape by Sheila Turner-Seed and has been lightly edited.
I’m not interested in documenting. All my training was surrealism. Pinterest. Incredible unpublished Henri Cartier-Bresson shots appear in the latest Rouleur. 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. But this month they’re available for all to see in Rouleur 34. Accompanied by an illuminating article on the Vél D’Hiv and a background on Cartier-Bresson himself the images offer an unprecedented look at Parisian velodrome racing and the accompanying glamour and spectacle – aspects that have been all but lost from today’s version of the sport.
Le Monocle De Mon Oncle: Railowsky. Contacts : Henri Cartier-Bresson. Rare Cartier-Bresson prints revealed. 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. The auction catalogue states: ‘Throughout the 30 years they worked together, Cartier-Bresson expressed his gratitude and paid the highest of compliments to his friend and partner by giving him signed and personally dedicated prints, usually allowing Voja to select the images himself.'
To view the images click HERE. Cartier-Bresson: A Question of Colour Somerset House. 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. Ends. Sunday Salon » Henri Cartier-Bresson – the portraits. 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. I’m not going to discuss his life at all—not his early life as a painter, not his shift to photography, not his unsuccessful forays into cinema, not his early pre-war career, not his imprisonment by the Nazis during WWII nor his escape (on his third attempt), not his photo-documentation of the liberation of France, not his contribution as a founding member of the Magnum agency.
Why portraiture? Henri Cartier-Bresson: 'Red China' in Color, 1958. Henri Cartier-Bresson '50s 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's first Leica. 7 Lessons from Famous Photographer Henri Cartier-Bresson. “Henri Cartier-Bresson – Famous Photographers Tell How” (1958. Henri Cartier-Bresson: The Impassioned Eye by Ron Steinman. "Henri 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. Cartier-Bresson's Decisive Moment by David Friend. "Henri Cartier-Bressons "Decisive Moment"" by Larry Grayam. Henri Cartier-Bresson. Henri Cartier-Bresson and Street Photography.