Ironically, late in his life, Cartier-Bresson abandoned photography and instead returned to painting and drawing. Easier said than done, yet for Cartier-Bresson it became second nature. Without great respect for composition, there can never result a great photograph.Ĭapturing these “decisive moments” became the central core of Cartier-Bresson’s process, saying “Photography is simultaneously and instantaneously the recognition of a fact and the rigorous organization of visually perceived forms that express and signify that fact.” To paraphrase once again, anticipate when and where something interesting will happen, and be there with your camera. As he explains in his own words, composition is where a photograph begins. Cartier-Bresson was a stickler for composition. By observing these failed attempts, the remaining frames on his contact sheets not circled with a red crayon border, we can glean deeper insight into the process Cartier-Bresson used in creating some of his historic imagery. What interested him enough to use a few of his thirty-six precious film frames trying to capture what his senses told him was coming, the decisive moment. We see a bit deeper into the soul of the photographer by examining what he shot and what was rejected. We get to see not only Cartier-Bresson’s image selections, we see his rejects. In the video above, we get to see some of Cartier-Bresson’s actual contact sheets, a rare treat in and of itself. We all as photographers end up with the majority of our work in the cutting bin, be it physical or the electronic trash bin on your desktop. Nobody shoots a masterpiece with every frame. But not every image Cartier-Bresson shot was a masterpiece. Many credit Cartier-Bresson with being the father of modern photojournalism and street photography. That split second when everything comes together when magic happens.Ĭartier-Bresson was the original master of this technique, capturing the moment of essence in all of his published work. By carful choices in each, a photographer can isolate a subject down to its essence, a passing of time down to the one “decisive moment” as Cartier-Bresson called it. The photographer chooses perspective, viewpoint, lens, camera, medium, aperture and shutter speed based upon simplifying the panoramic scene before him.
The artist begins with a blank canvas, and using color, shape and form applies his brushes deftly until the stark emptiness of a blank canvas becomes filled with the life the painter brings to it. Cartier-Bresson’s work and his words continue to be one of my greatest inspirations.Ĭartier-Bresson approached his photography from a painter’s perspective, though the two media are 180 degrees opposite. One of his primary secrets to successful images, to paraphrase his own words, is to feel the image and not just “take” it. It’s not just the word choices he uses, it is the emotional connection I feel when I understand him best. There has always been a sense of feeling I get when I perceive his work, read his words, and listen to him speak. For Cartier-Bresson, a great photo was the result of finding a great composition in a location which was missing one element, and the waiting for that one element to appear. Style was something that developed on its own, not something that could be pursued. Cartier-Bresson felt good photographers were simply very good craftsmen. Cartier-Bresson didn’t attempt to be cryptic nor mysterious on what it took to make good images. The challenge being is how you interpret the information presented. Like few others in history, Cartier-Bresson was very upfront and open about sharing everything learned over his many years. Yes, I said feel, as from my hours of study I find Cartier-Bresson unique in the world of photographers.
If there is one man’s words I will spend the rest of my life trying to feel, they are those of Henri Cartier-Bresson.
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