Who is Henri Cartier-Bresson?

Henri Cartier-Bresson (1908-2004) was a French humanist photographer considered one of the greatest photographers of the 20th century. He is widely regarded as the father of street photography and the concept of the “decisive moment.”

Cartier-Bresson was born in Chanteloup, France, and began his career as a journalist and photographer in the 1930s. He served in the French Resistance during World War II, using his photography skills to document the war effort.

In the 1940s and 1950s, Cartier-Bresson became known for his innovative approach to photography, which emphasized capturing the essence of a moment or scene in a single frame. He believed that photography should be a way to reveal the human condition, rather than simply documenting reality. He coined the term “decisive moment” to describe this concept, which refers to the fleeting instant when all the elements of a scene come together to create a powerful and meaningful image.

Cartier-Bresson’s photographs often featured everyday people going about their daily lives, but he was also drawn to capturing the beauty and dignity of marginalized communities, such as gypsies and peasants. His work often had a strong sense of narrative and storytelling, and he was known for his ability to capture complex social and cultural dynamics in a single image.

What is the ‘decisive moment’?

The “decisive moment” is a concept coined by Henri Cartier-Bresson, a French photographer, in his 1952 book “The Decisive Moment.” It refers to the brief, fleeting moment when all the elements of a scene come together to create a powerful and meaningful image.

For Cartier-Bresson, the decisive moment was not just about capturing a specific event or action, but rather about capturing the essence of the human experience. He believed that this moment was often a combination of several factors, including:

1. Timing: The ability to capture the exact moment when something significant was happening.
2. Composition: The way the elements of the scene were arranged to create a harmonious and balanced composition.
3. Light: The quality and direction of the light, which could add mood and atmosphere to the image.
4. Storytelling: The ability to tell a story or convey a sense of narrative through the image.

Cartier-Bresson believed that this decisive moment was often unpredictable and required a great deal of skill and intuition to capture. He would often spend hours waiting for this moment to unfold, observing and anticipating the action before him.

The decisive moment is not limited to specific subjects or genres, but can be applied to various forms of photography, including street photography, portrait photography, landscape photography, and more.

Some key characteristics of the decisive moment include:

• A sense of tension or drama
• A feeling of anticipation or movement
• A strong sense of human connection or interaction
• A balance of shapes, lines, and textures
• A sense of depth or layering
• A strong emotional resonance

Cartier-Bresson’s concept of the decisive moment has had a profound impact on photography and continues to inspire photographers today. It emphasizes the importance of being present in the moment, observing carefully, and being prepared to capture that fleeting instant when everything comes together to create a powerful and meaningful image.

How does Henri Cartier-Bresson view the activity of photography?

Henri Cartier-Bresson, considered one of the most influential photographers of the 20th century, viewed photography as a unique medium that required a distinct approach, philosophy, and set of skills. Here are some key aspects of his views on photography:

1. Photography as a way to capture the human experience: Cartier-Bresson believed that photography should be used to capture the essence of human experience, to tell stories about people, and to reveal the human condition.
2. Photography as a momentary capture: He emphasized the importance of capturing a single moment, often referred to as the “decisive moment,” when all the elements of a scene come together to create a powerful image.
3. Photography as a means to reveal the unconscious: Cartier-Bresson believed that photography could reveal the unconscious aspects of human behavior, revealing hidden truths and emotions.
4. Photography as an act of observation: He emphasized the importance of observing and waiting for the right moment, rather than staging or manipulating scenes.
5. Photography as a form of storytelling: Cartier-Bresson saw photography as a way to tell stories about people, places, and cultures, often using a series of images rather than a single frame.
6. Photography as an art form: He believed that photography was an art form that required creativity, skill, and intuition, and that it should be judged on its artistic merit rather than technical quality.
7. Photography as a reflection of reality: Cartier-Bresson believed that photography should reflect reality, but also acknowledged that it is always subjective and influenced by the photographer’s perspective.
8. Photography as a way to transcend time and space: He believed that photography could capture moments in time and spaces that would otherwise be lost, allowing us to transcend time and space.
9. Photography as a means to connect with others: Cartier-Bresson saw photography as a way to connect with others, to understand their lives and experiences, and to create empathy and understanding.

In summary, Cartier-Bresson viewed photography as a powerful medium for storytelling, observation, and capturing the human experience. He emphasized the importance of patience, intuition, and creativity in capturing meaningful images that reveal the essence of life.

Henri Cartier-Bresson Mood Board.

I have presented my galleries as if they are all in one gallery and you are walking through it so I can tell a story.

This is my first virtual gallery, it shows the story of my images that are presented like Dafna Talmar, the whole topic was about Anthropocene and I found that an intriguing topic to show my thoughts on it, as Anthropocene is open to a lot of different things, I wanted to show the side of pollution, littering and damage to out planet, and to show it in ways where you can see the damage and also the beauty. It was very important to me to never take away from the beauty of this island. I like these and how they came out, I really like the one in the middle and that is why I had it in full presentation, so it draws the eye, I thought it shows very well what I was trying to present, showing half a destroyed bad weather, littered beach then it was cut in half next to a beautiful sunny clean beach. The dream next to the nightmare. I also liked the way I cut it and blacked the edges to give the burn affect I feel like this gave the idea of the picture being ripped or even if u rip away the beauty you can actually see the dark truth of what the world will become, but I still feel it is very open to interpretation. Parts I didn’t like about this image was the ripping and burning affect, not only that it was hard but I think it would have looked cooler to have actually taken images and really ripped them and burnt them as I think it would give an affect better.

This is my next virtual gallery, so the next party you would see as you walk through, this part is almost showing into the future or like the bird one and the flowers one on how the world is, and even in things that are beautiful and that we all love there is rubbish, and how we should appreciate stuff more, I feel like this is specifically shown in the flower one because everyone loves flowers and thinks there gorgeous and summery yet you can see the destruction happening to them so if people where to my image they would realise they need to not only appreciate the beauty but do something about it to make it stay like that and not end up like the middle images which is the way we are headed. I didn’t love that this virtual gallery looks a bit dark and gloomy but also these images needed that affect because bright sunny weather isn’t going to happen in the future when the world is so polluted. when editing in al the litter I didn’t think it always look the most realistic, but that is how things are going to be and I was showing the future and overexaggerating to give a more powerful aspect of my image, expect the worst and people might actually try their best to fix this planet. My images show a lot of damage that will happen as I think it fits very well into Anthropocene and the litter side, and I was using artist studies as references to do my images similarly or to show the same idea of the damage and disgrace that will happen to this planet as I care a lot about it and feel peoples eyes need to be opened, and photography is a great way to do so as I am catching things that are happening, its not all made up its real this is life and we need to help it, so I think my images are very good in that aspect.

This is the next part of my gallery, and I really like it because it is more happy, when my other images are dark and gloomy showing damage to the world this one is showing beauty and presenting the nice parts of it. Obviously there are images of me showing the litter and what could happen, but its almost like giving hope to anyone viewing my image that it isn’t always doom and gloom and there is a beautiful side, of unlittered beaches and sees and sunny hot weather. I like all these images because I like to capture beauty and I think they are colourful and just bright happy images, I also liked the way they were presented which was similar to Michael Marten I just thought this was a cute way to present with the cuts in-between the images or the before and after of the high tide and low tide. They also aren’t my favourite images because i think some of them are quite boring and not eye opening or creative like my others as there isn’t much to them.

This is the final party of my gallery which is a past present and future version of the same image, this is the final send off for people to see, on how things used to be, clean, sunny, full of trees and nature, Then showing the developed meant of littering and population with more houses and just on how things have developed like a plane. the final image is how things will be if we continue with more clouds, darker weather, more houses then trees and more litter then beach.

Dafna Talmar was on of my artists study’s as I liked the way her photos where presented and wanted to attempt the same with my final images.

Here is one of my final images I attempted to do like Dafna Talmar, with my image it is slightly different as I edited and cut different images with pollution onto my sunny nice image. It is similar to Dafna Talmar because it has all the cut out pieces of the images stuck back on and burnt black edges around the side, its slightly different to Dafna as I did mine virtually using photoshop to burn around the edged instead of actually doing so like how she did.

This is another version of a Dafna Talmar inspired image, it is also a similar vibe to my photo above as I have cut in different weathers and litter into the image giving the burn affect around the edge, its still not exactly like Dafna Talmar because I liked her way of burning the edges and cutting up all the images in a scruffy yet unique and beautiful way, which I also wanted to do for my images, where it is burnt and cut and scruffy but still able to see the message I was try to present and the beauty of the world as well as the ugly.

This photo was probably my most similar to Dafna Talmar as I am not changing and adding anything to the image to do with pollution I am simply just cutting up one image and placing git in a similar or same place to create the burnt and cut up look, with Dafna Talmar though when she cuts its up you cant really make out what’s in the image when with mine you can.

This is an image from Michael Marten which I really like because again I liked the way he presented it, with the same image cut up and split apart, almost like its telling a story.

This one one of my attempts doing the same thing, I don’t think it is the most exciting but I just like the way it is presented and think there is a lot you can do with it. My image is similar to Michael Martens because it is also of rocks at a beach, and the image is cut up and presented with breaks between them/

This is another attempt of work similar to his, it is similar in the way that its one image cut into three separate section next to each other to tell a story, this one is slightly different though because I edited the the middle one to have litter and show something different in the same place for more affect, that could be similar to Michael Marten in a way because in some images he shows the same place but with the tide up or down, I haven’t done exactly that but I have shown the same place just slightly different to show what can and will happen to our planet.

This is also what Michael marten does in a lot of images because he likes to show ‘sea change’ so I have attempted to present the same thing in this image of the exact same place but one when the tide is high and the other when the tide is low.

This is an image from Chris Jordan I only attempted one image similarly to Chris Jordan, and that is because he used a real bird cutting it open and putting plastic inside, mine is edited from photoshop because I thought his images where cool and was a great way to get my message across.

This is my version of his image, i think it is very good and similar to his image as it is both dead birds on the ground with plastic spewing out of their stomachs, other then that the only difference is that mine is edited and they are different birds.

Dafna Talmor

Dafna Talmor is a London-based photographer known for her abstract and conceptual landscape photography. Originally from Jerusalem, Israel, Talmor frequently explores themes of place, memory, and perception in her work.

Talmor often creates her images through a process of layering and blending multiple photographs together, creating dream-like landscapes that challenge the viewer’s perception of reality. Her work blurs the line between photography and painting, resulting in visually striking and thought-provoking compositions.

Talmor’s photographs have been exhibited in galleries and museums around the world, including the Victoria and Albert Museum in London, the Aperture Foundation in New York, and the Tel Aviv Museum of Art in Israel. She has also received numerous awards and accolades for her work, solidifying her reputation as a talented and innovative photographer in the contemporary art world.

Michael Marten

Michael Marten is a British photographer known for his captivating and thought-provoking series “Sea Change,” which documents the dramatic transformations of coastal landscapes caused by the ebb and flow of tides.

Marten’s unique approach involves setting up his camera at the same location at low tide and high tide, capturing two separate images of the same scene. When the images are juxtaposed, they reveal the stark contrast between the two tidal states, showcasing the dynamic and ever-changing nature of the coastlines.

Through his work, Marten explores themes of time, impermanence, and the impact of human activity on the natural environment. His photographs not only highlight the beauty and fragility of coastal ecosystems but also serve as a powerful reminder of the ongoing effects of climate change and rising sea levels.

Marten’s “Sea Change” series has been exhibited internationally and has garnered critical acclaim for its innovative and visually stunning depiction of the coastal landscape. His work has been featured in prestigious publications such as National Geographic, The Guardian, and The New York Times. Marten continues to create impactful and thought-provoking photographic projects that resonate with viewers around the world.

Chris Jordan

Chris Jordan is an American photographer and environmental artist known for his powerful and thought-provoking work that addresses issues of consumerism, waste, and environmental degradation.

Jordan’s most famous series, “Running the Numbers,” uses large-scale photographic images to visually represent staggering statistics related to consumption and waste in modern society. Through his intricate and detailed compositions, Jordan aims to raise awareness about the impact of human behavior on the planet and the consequences of unchecked consumerism.

In addition to “Running the Numbers,” Jordan has created other notable projects such as “Midway: Message from the Gyre,” which documents the devastating effects of plastic pollution on the albatross population of Midway Atoll. This series of photographs and films serves as a poignant reminder of the interconnectedness of environmental issues and the need for collective action to address them.

Jordan’s work has been exhibited in galleries and museums around the world and has been featured in numerous publications and documentaries. He is a passionate advocate for environmental conservation and is actively involved in using his art to inspire positive change and promote sustainable practices. Jordan’s captivating and impactful images continue to spark important conversations about the state of our planet and the urgent need for environmental stewardship.

Keith Arnette

Keith Arnatt (1930-2008) was a British conceptual artist and photographer known for his innovative approach to photography and his exploration of everyday objects and concepts.

Arnatt initially studied painting but later transitioned to photography in the 1960s, where he became known for his deadpan and analytic style. He gained recognition for his series “Portrait of the Artist as a Shadow of His Former Self” (1969-1970), in which he posed as a shadow against a wall, questioning the artistic identity and representation.

Throughout his career, Arnatt continued to challenge traditional notions of art and photography, often blurring the lines between reality and artifice. He was interested in mundane and overlooked subjects, finding beauty and significance in the everyday.

Some of his other notable works include “Notes from Jo” (1972), “Notes on Sculpture” (1969-72), and “Trouser-Word Piece” (1972), where he humorously and critically engaged with language, representation, and the art world itself.

Keith Arnatt’s work has been exhibited internationally and is held in prestigious collections, including the Tate Gallery in London. He played a significant role in the development of conceptual art and his impact can still be seen in contemporary art practices today. Keith Arnatt passed away in 2008, leaving behind a legacy of innovative and thought-provoking artwork.

These are mood boards of artists I have decided to study and am using as inspiration.

Dafna Talmor Inspiration Mood Board

Michael Marten Inspiration Mood Board

Chris Jordan Inspiration Mood Board

Keith Arnette Inspiration Mood Board

What is Anthropocene?

The Anthropocene is a proposed geological epoch that marks the period during which human activity has been the dominant influence on climate and the environment. It is characterised by significant changes in the earths ecosystems and biodiversity. largely driven by human activities such as industrialisation. urbanization, and deforestation. The term ‘Anthropocene’ is derived from the Greek words ‘Anthropos’ meaning human, and ‘kainos’, meaning new, and is used to highlight the impact of human activities on the earths geological processes. The concept of Anthropocene has gained attention in recent years as scientists and scholars seek to understand and address the effects of human-induced climate change and environmental degradation.

How and why are photographers exploring this concept?

Photographers are exploring the concept of the Anthropocene through their work in various ways. They are using photography as a medium to document and visually communicate the impact of human activities on the environment. Here are some ways in which photographers are exploring the Anthropocene:

Documenting environmental degradation: Photographers are capturing images that show the degradation of the environment, such as deforestation, pollution, urbanization, and climate change. These images serve as powerful visual evidence of the impact of human activities on the planet.

Portraying the human-nature relationship: Photographers are also exploring the complex relationship between humans and nature in the Anthropocene. They are documenting how humans interact with and alter the natural landscape, as well as the consequences of these interactions.

Raising awareness and advocacy: Through their work, photographers are raising awareness about environmental issues and advocating for positive change. They use photography as a tool to engage viewers emotionally and intellectually, prompting them to reflect on their own role in the Anthropocene and to take action.

Showing the resilience of nature: Some photographers focus on showcasing the resilience of nature in the face of human-induced environmental challenges. They capture images of ecosystems and species that are able to adapt and survive despite the pressures of the Anthropocene.

Overall, photographers play a crucial role in documenting, exploring, and raising awareness about the concept of the Anthropocene through their powerful visual storytelling. Their images can inspire action, spark dialogue, and encourage a deeper understanding of our impact on the planet

My first editing in Adobe Lightroom:

After Editing my photos in Lightroom by just lowering the exposure mainly, I then moved them to Photoshop to add the real edits to make it more like my artist studies and creative idea.

These are most of my final edits, I completed them in photoshop using AI and cutting different parts of different images then sticking them onto other ones.

With all these photoshoots I have been through and selected the best of ones I think will be good to use parts of for all my final pieces

Photoshoot 1:

My first photoshoot wasn’t very exciting, all I did was go around town to take photos litter, I probably wont use the full photos I might just cut and edit the actual litter into other images.

Photoshoot 2:

This is my second photoshoot where I went to portlet to take photos of the beach and rocks, and also some photos of modern house around nature, these images I will keep the same or edit with inspiration from Dafna Talmar, and Michael Martin.

Photoshoot 3:

This photoshoot was at St Brelades/way nay, and similar to the photoshoot above in another location.

Photoshoot 4:

This photoshoot was taken in the studio. These Photos will be mainly inspired by Keith Arnette, and my own idea to add creativity into this topic.

Photoshoot 1: