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Street Photography Composition Lesson #3: Diagonals

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). 1. The horizontal line. The horizontal line is by nature, flat. 2. The vertical line. The vertical line is much more dynamic than the horizontal line. Imagine a man standing tall. 3. The diagonal line. Now let us go onto the diagonal line. Imagine a man standing up, and you shoved him quite hard. Dynamic Symmetry In one chapter he talks about the diagonal, and cutting the “reciprocal” line through it. 1. 2. Done? Related:  Henri Cartier-BressonStructure

Iconic Photos | Famous, Infamous and Iconic Photos Street Photography Composition Lesson #4: Leading Lines All photos in this article are copyrighted by their respective photographers. For today’s street photography composition lesson– I would like to discuss leading lines. Leading lines are one of the most basic photography compositional techniques– I am sure you have all heard of it before. Whenever I look at a photograph, the first question I ask myself is: who is the subject? If I cannot easily identify who the main subject is– it causes me to get stressed out and disoriented. Therefore you can utilize leading lines to point out your main subject to the viewer. I will bring up some examples to further illustrate the importance of leading lines: Josef Koudelka : CZECHOSLOVAKIA. 1963. © Josef Koudelka / Magnum Photos : CZECHOSLOVAKIA. 1963. In this compelling photo by Koudelka for his “Gypsies” book — you see a man dead in the center of the frame, hands in handcuffs– and onlookers in the background. The feeling of the photograph is tense. Henri Cartier-Bresson FRANCE. 1932. I doubt it. 1. 2.

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.” Now that I’ve proposed this deceptively simple definition of the DM, I’d like to explore the concept in more depth. Before beginning an in depth exploration of the DM, let me first briefly summarize my conclusions about what it entails. 1. Cartier-Bresson’s Viewpoint In 1952 Cartier-Bresson published Images à la Sauvette, which roughly translates as “images on the run” or “stolen images.” “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. Manufactured or staged photography does not concern me. 1. 2. 3. 4. 5. 6. 7. 1. 2. 3.

Bresson There are giants in this world. Each discipline and art has them. In photography one of the towering names is Henri Cartier Bresson. 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. © Henri Cartier Bresson The Book Of greater interest to anyone who admires, or indeed loves this man's work there is the just published The Man: The Image and The World — A Retrospective, from publisher Thames and Hudson. For anyone that hasn't tuned in to the world of documentary photography during the 20th century, Cartier Bresson is the one of the art's leading lights. In this new book we finally have the opportunity to explore the entire span of Cartier Bresson's primary output — a forty year period from the early '30s to the early '70s. © Henri Cartier Bresson In terms of presentation the reproductions are first rate Duotones. The Decisive Moment

juxtaposition nandan nagwekar The F-Stops Here - Street photography: crop or crap? 10 Things Henri Cartier-Bresson Can Teach You About Street Photography Don’t forget to pre-order the new re-print of “The Decisive Moment” by Henri Cartier-Bresson! I have been doing quite a bit of research into Henri Cartier-Bresson, the godfather of street photography. Although my current approach in street photography is more like Bruce Gilden and less of Henri Cartier-Bresson, HCB influenced much of my earlier work and I still deeply respect his photography and philosophies. I hope you are able to enjoy these things I believe you can learn from Henri Cartier-Bresson about street photography. Keep reading to become inspired and learn more. 1. If you look at the work of Henri Cartier-Bresson, he applied geometry to his images poetically. Don’t only see the world as it is, look for shapes and geometry that occur naturally as well. 2. When Henri Cartier-Bresson would talk about “The Decisive Moment” he said sometimes it would be spontaneous but others times he had to be patient and wait for it. 3. 4. Apply the same mentality to when you go out and shoot. 5.

énumération 2 10 Things Not To Do As a Street Photographer (Above image “Untitled” by Christos Kapatos) I just finished reading “The Black Swan” by Nassim Nicholas Taleb, where he discusses many misconceptions and fallacies that we face as humans. He talks from a scientific-philosophical viewpoint, and has many fascinating insights. One of them was about knowledge—and that it isn’t necessarily additive—rather something subtractive. For example, a good stock-broker won’t tell you what to do, but rather what not to do. Therefore for this blog post I will share some of my insights and experiences in street photography in terms of what not to do. 1.Dont shoot standing up One of the things I always advise people against when shooting street photography is shooting standing up. Of course this depends on the situation. 2.Dont shoot street performers or the homeless Shooting street performers or the homeless are easy targets. Street performers have their photo taken all the time, and aren’t challenging to take photos of. 5.Don’t waste time focusing

ISHU PATEL | 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? So it was not strange that in December 1965, the legendary photographer Henri Cartier-Bresson arrived at NID from Paris. Dalwadi was specializing in Photography. Unlike other visiting consultants at NID, Cartier-Bresson kept a very low profile.

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