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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-BressonCompositionStructure

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. Later I met photographers who had some of Atget’s prints. Next I took to developing this Art of mine in my washbasin. In 1931, when I was twenty-two, I went to Africa. I had had blackwater fever in Africa, and was now obliged to convalesce. I have traveled a good deal, though I don’t really know how to travel.

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.

juxtaposition nandan nagwekar 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.

Iconic Photos | Famous, Infamous and Iconic Photos H3ETBUjE 01 s énumération 2 The F-Stops Here - Street photography: crop or crap? 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

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