Henri Cartier-Bresson: Difference between revisions
Jump to navigation
Jump to search
imported>Howard C. Berkowitz No edit summary |
imported>Howard C. Berkowitz (Nods to Tom Morris) |
||
| Line 1: | Line 1: | ||
{{subpages}} | {{subpages}} | ||
'''Henri Cartier-Bresson''' (1908-2004) was a French photographer, often considered the "father of modern photojournalism", whose guidance was to capture what he called "the decisive moment" | '''Henri Cartier-Bresson''' (1908-2004) was a French photographer, often considered the "father of modern photojournalism", whose guidance was to capture what he called "the decisive moment". | ||
<blockquote>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. | <blockquote>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. | ||
<br /><br /> | <br /><br /> | ||
| Line 7: | Line 7: | ||
| publisher = HCB Foundation | | publisher = HCB Foundation | ||
| title = The Artist}}</ref></blockquote> | | title = The Artist}}</ref></blockquote> | ||
His technique was to be unobtrusive, using a quiet [[35mm rangefinder camera]] and [[available light]]. This strongly contrasted to the dramatic presence of a [[Weegee]], who used a much larger camera and frequently [[artificial light (photography)|artificial light]] from dazzling [[flashbulb]]s. | |||
==References== | ==References== | ||
{{reflist}} | {{reflist}} | ||
Revision as of 20:41, 12 March 2010
Henri Cartier-Bresson (1908-2004) was a French photographer, often considered the "father of modern photojournalism", whose guidance was to capture what he called "the decisive moment".
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.[1]
His technique was to be unobtrusive, using a quiet 35mm rangefinder camera and available light. This strongly contrasted to the dramatic presence of a Weegee, who used a much larger camera and frequently artificial light from dazzling flashbulbs.
References
- ↑ The Artist, HCB Foundation