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The picture-story involves a joint operation of the brain, the eye and the heart. The objective of this joint operation is to depict the content of s… - Henri Cartier-Bresson
" "The picture-story involves a joint operation of the brain, the eye and the heart. The objective of this joint operation is to depict the content of some event which is in the process of unfolding, and to communicate impressions. Sometimes a single event can be so rich in itself and its facets that it is necessary to move all around it in your search for the solution to the problems it poses — for the world is movement, and you cannot be stationary in your attitude toward something that is moving. Sometimes you light upon the picture in seconds; it might also require hours or days. But there is no standard plan, no pattern from which to work.
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About Henri Cartier-Bresson
Henri Cartier-Bresson (22 August 1908 – 3 August 2004) was a French humanist photographer considered a master of candid photography, and an early user of 35 mm film. He pioneered the genre of street photography, and viewed photography as capturing a decisive moment. He was one of the founding members of Magnum Photos in 1947.
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Alternative Names:
Henri Cartier Bresson
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Henry Cartier-Bresson
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Bresson
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Additional quotes by Henri Cartier-Bresson
There are photographers who invent, others who discover. Personally, I am interested in discoveries, not for the trials or experiences but to capture life itself. I flee from the dangers of the anecdote and the picturesque, which are very easy and better than sensational, but quite as bad. To my mind, photography has the power to evoke, and must not simply document. We have to be abstract, just like nature.
Photography has fulfilled my adventurous side: it is a real trade. I behaved like a thief in every country where I went, in China, in Africa, in America… all things considered, our trade is situated somewhere between pickpocket and tightrope walker… yes, we steal from people, we take something that belongs to them: their image, their culture.
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A contact sheet is so interesting, because you see how a photographer thinks. He comes closer and closer to a subject, corrects it, looks at it again, and then with tiny movements turns around until it is in exactly the right and exact relation to him. Contact sheets may be compared to the way you drive a nail into a plank. First you give several light taps to build up a rhythm and align the nail with the wood. Then, much more quickly, and with as few strokes as possible, you hit the nail forcefully on the head and drive it in.
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