“Your eye must see a composition or an expression that life itself offers you, and you must know with intuition when to click the camera.” – Henri Cartier-Bresson
Henri Cartier-Bresson (1908-2004), a French photographer who is considered to be one of the fathers of photojournalism and masters of candid photography. He sought to capture the ‘everyday’ in his photographs and took great interest in recording human activity. He wrote,
“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.”
The Decisive Moment, Henri Cartier-Bresson’s influential publication, is widely considered to be one of the most important photobooks of the twentieth century. Pioneering for its emphasis on the photograph itself as a unique narrative form, The Decisive Moment was described by Robert Capa as “a Bible for photographers.” Originally titled Images à la Sauvette (“images on the run”) in the French, the book was published in English with a new title, The Decisive Moment, which unintentionally imposed the motto which would define Cartier-Bresson’s work. The exhibition details how the decisions made by the collaborators in this major project—including Cartier-Bresson, French art publisher Tériade, American publisher Simon & Schuster, and Henri Matisse, who designed the book’s cover—have shaped our understanding of Cartier-Bresson’s photographs.
The Decisive Moment, Henri Cartier-Bresson’s influential publication, is widely considered to be one of the most important photobooks of the twentieth century. Pioneering for its emphasis on the photograph itself as a unique narrative form, The Decisive Moment was described by Robert Capa as “a Bible for photographers.” Originally titled Images à la Sauvette (“images on the run”) in the French, the book was published in English with a new title, The Decisive Moment, which unintentionally imposed the motto which would define Cartier-Bresson’s work. The exhibition details how the decisions made by the collaborators in this major project—including Cartier-Bresson, French art publisher Tériade, American publisher Simon & Schuster, and Henri Matisse, who designed the book’s cover—have shaped our understanding of Cartier-Bresson’s photographs.
Here the decisive moment is described:
“If a photograph is to communicate its subject in all its intensity, the relationship of form must be rigorously established. Photography implies the recognition of a rhythm in the world of real things. What the eye does is to find and focus on the particular subject within the mass of reality… In a photograph, composition is the result of a simultaneous coalition, the organic coordination of elements seen by the eye. One does not add composition as though it were an afterthought superimposed on the basic subject material, since it is impossible to separate content from form.”
Image analysis:
This image taken by Cartier-Bresson is composed as a dejected image with a clear subject of a person. I believe that this image is successful as it focuses on a natural, common everyday scene, which draws the viewer in forcing us to question why the photo was taken and which message is the artist trying to get across. From a first glance I can gather that Bresson is presenting a mood of sorrow, which is also inferred through the black and white filter and the use of a puddle also adds to the melancholy. This is because the puddle reflects the man in the foreground’s shadow, which essentially exaggerates his loneliness. Similarly, there is also a man in the background who is also by himself and looks as if he is looking at nothing, implying he is deep within his thoughts. In addition to this, the size of the puddle could also suggest misery as it implies that it has been raining, which we can rightfully associate with sadness. Another effective element in the image is the ladder as it is lying down and not standing up, which shows that there has clearly been a storm, perhaps suggesting people should not be outside.
In addition to this, the way Bresson has taken the photo is practical because a slow shutter speed has been used, giving the image a candid effect. This is an important technique in street photography as it tells us that the subjects behaviours are not changing for the purpose of the image. This helps the outcome look more realistic and believable for the viewer, which makes us feel sympathetic towards the subject. I like how the background is in focus, as we can assume that Bresson’s attention was drawn to the background rather than the foreground.
