
The horizonal lines towards the left of the image on the railings highlight and direct the viewers eyeline towards the decisive moment to frame where he has captured the image. Meanwhile, the man jumping is a part of the rule of thirds, as he is on the right side of the photo, meaning he’s in the right grid side. This makes him the first eye catching subject, as the image is divided. If you remove the colours in the image, it enhances the detail and depth in the image, with stronger shadows and highlights because of the tonal range. Because there is no colour, the monochrome image gives nostalgia and a reminiscent feeling of memories of the past.
He used a Leica Rangefinder with a 50mm lens to be discreet, capturing quick images in focus. This enabled him to capture them close up or far away, but allowed him to take a candid photo of others to give a more natural quality. He had clarity from foreground to background and sharp focus to add more depth, alongside a quicker shutter speed as there is little to no motion blur. Usually bright natural lighting is hated by photographers, but Cartier-Bresson uses the advantage of natural light, to reflect perfectly onto the light of the puddle. By doing this, it reflects on the bottom and top to create balance, and give a sense of unity in the image whilst framing this in a perfect way. This photo became one of his most famous images, by renouncing street photography and the idea of candid photos. This image revolutionised the decisive moment, and enhanced the idea that you can take something so ordinary, and recognise the beauty in it.

The black fences act as a guide to lead the eyes in various directions by using leading lines through the shapes.
These women carry baked goods, which in turn could be representing the children’s future jobs. The texture in each of the floor patterns suggests that