Masters of Photography

Adams, Ansel
Arbus, Diane
Berenice, Abbott
Brandt, Bill
Cartier-Bresson, Henri
Stieglitz, Alfred

Henri Cartier-Bresson 
(1908-)


One of the most recognisable documentary photographers in the world. Known for its reportage style and early connection to the rebelliousness of Surrealism, the work of Cartier-Bresson has always subverted narrative expectations. A reluctant and ambivalent scion of the bourgeoisie, Cartier-Bresson captured in photographs the plight of the very dispossessed, marginal, and illicit underclass shunned by his own socio-economic community. His venues ranged from Mexican flea markets and African street fairs to the Jewish ghettoes of Eastern Europe. 
A sense of the photographer's visceral engagement with his subjects emerges from the natural, unposed moments he chooses to present them in. This technique, which he termed "incomplete adventures" or "happenings in the moment," originated with Cartier-Bresson and laid the foundation for the approach known as "the decisive moment," a style that transformed photojournalism to a high art. "The decisive moment" occurs in flashes during the everyday pursuits of work, play, and contemplation, and reveals an open sensuality which is not normally the prerogative of the outcast. 

Cartier-Bresson's use of the camera as an impassive and neutral third eye that captures the eccentricities of human behaviour, established two central axioms in modern photography: one, a photograph can still be valid even if it is nothing more than a record of a particular fact or set of facts; and, two, a collection of such pictorial facts, accumulated without agenda, can express an extraordinarily personal artistic vision. 

Quotes 

"For me the camera is a sketch book, an instrument of intuition and spontaneity, the master of the instant which, in visual terms, questions and decides simultaneously. In order to “give a meaning” to the world, one has to feel involved in what one frames through the viewfinder. This attitude requires concentration, discipline of mind, sensitivity, and a sense of geometry. It is by economy of means that one arrives at simplicity of expression. To take a photograph is to hold one’s breath when all faculties converge in a face of fleeing reality. It is at that moment that mastering an image becomes a great physical and intellectual joy. To take a photograph means to recognize – simultaneously and within a fraction of a second– both the fact itself and the rigorous organisation of visually perceived forms that give it meaning. It is putting one’s head, one’s eye, and one’s heart on the same axis."

"Photography appears to be an easy activity; in fact it is a varied and ambiguous process in which the only common denominator among its practitioners is in the instrument."

"Photographers deal in things which are continually vanishing and when they have vanished there is no contrivance on earth which can make them come back again."

"In photojournalistic reporting, inevitably, you're an outsider."

"What reinforces the content of a photograph is the sense of rhythm – the relationship between shapes and values."

"The photograph itself doesn't interest me. I want only to capture a minute part of reality."

"The picture is good or not from the moment it was caught in the camera."

"I want to prove nothing, demonstrate nothing. Things and beings speak sufficiently."

"The most difficult thing for me is a portrait. You have to try and put your camera between the skin of a person and his shirt."

"The creative act lasts but a brief moment, a lightning instant of give-and-take, just long enough for you to level the camera and to trap the fleeting prey in your little box."


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