Henri cartier bresson the decisive moment pdf download

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Photography and time: decoding the decisive moment. Critical Inquiry Photography, Vision, and Representation. Formulas of Prize-Winning Press Photos. For him, from a simple way of seeing, photography became a way of thinking, feeling with the appropriate distance , and a way of life, an evolution that would be confirmed by, and would extend into his experience of Buddhism.

For years, until he "retired" in the mids, and dedicated his time to drawing, Magnum allowed him to roam the world while Pierre Gassman, in Paris, would develop his negatives and print them at "Picto. Van Deren Coke, Carl Mydans recently, and, within weeks, on the other side of the ocean three men, two of whom were photographers, Henri Cartier-Bresson and Jean-Philippe Charbonnier , and one darkroom sorcerer, Pierre Gassman.

In Henri, a booklet edited by Brigitte Ollier and published by Filigranes in , Charbonnier remembered his first meeting with Cartier-Bresson pp. Here comes Pierre who stops and stands behind him. There was an attitude that matched the character, he wanted to be the first one to look at his contact sheets. Every photographer behaves this way, one does not just get master-pieces out of 36 exposures, and one does not have to advertise one's hesitations and errors. Later we exchanged two photographs.

He is a formidable "statue. I have spent my whole life trying to be inconspicuous in order to observe better. Twelve years later, John Szar[kowski would pick up the model and use it to write his own profession de foi for the Museum of Modern Art in New York in his catalog, The Photographer's Eye. But here stops another biographical obituary on Cartier-Bresson, just another one in the plethora of articles and essays that have been published on the subject in the past weeks, and across the world.

At this point, as a photo-historian and a photographer, I would also like to give my respectful testimony on the impact that HCB's work at large has had on photography, and on our visual culture.

Henri Cartier-Bresson's life has been a long and inspiring lesson in seeing and living. However, something HCB brought along with his images changed the way in which we take images as well as in the way that we look at photographs. Life is sometimes paved with strange coincidences.

I received a phone-call from a local retailer confirming some news that he had shared with me a few months before: he had in his possession a collection of photography books, some of which I might be interested in.

A few minutes later, to my surprise, there it was, with its dust-jacket and all, in good condition, and at a very reasonable price: The Decisive Moment. It was standing next to its sequential, The Europeans released in by the same publishing team. The cover and dust jacket had been designed by Miro.

Peking" , Many of these have been reproduced in other books, other catalogs. The aura of this book does not simply derive from its sole physical qualities, the choice of the paper, its careful printing by Draeger, or even the cover designed by Matisse himself.

The historical value of this milestone in Cartier-Bresson's career comes from its timing, and from the content of its introduction establishing the guidelines not rules, as lines can be flexible and bent, which suited more someone who defined himself as an "anarchist. Late cropping in the darkroom creates makes something else, an image, a two-dimensional object with a different existence and a different meaning altogether.

How many of us, after The Decisive Moment, long after it, have discarded images on the contact sheet that did not meet these criteria? How many still do, and still print the little black margins around their images to inform the viewer of their exacting practice? I still do, most of the time. With Cartier-Bresson, photography had become a way of looking, a way of living, a philosophical approach and a metaphor for life: the frame strictly defined by the viewfinder stands as an illustration of the strict context of our lives time, place, background.

A lot of possibilities lie within this frame for who comes with an open eye, an open mind, and an open heart. Sensitivity, knowledge, experience, and imagination are the tools that we were given to work within that frame and make most of the world within it, make sense, establish relationships, move and be moved, express ourselves.

His photographs have moulded the image of world history for several generations. Photography was for Henri Cartier-Bresson a tool for telling stories about life, to capture on film important, surprising and decisive moments. The key to photography for him was perfect and exact timing. The photographer.

The camera was for Cartier-Bresson like a sketchbook in which he recorded fleeting moments fast and spontaneously. The development of communi-cations technology facilitated the dissemination and influence of news images. Cartier-Bressons exhibition contains nearly photographs spanning the artists entire long career. Henri Cartier-Bresson. He used a 35mm Leica with a 50mm lens.

The camera was quite small, which allowed the photographer to move easily among people. Cartier-Bresson did not want to disturb his subjects with a flash, nor did he crop his pictures afterwards. He had a solid feel for com-position and great sensitivity to situations.

The concept of the decisive moment is associated specifically with Cartier-Bressons work. He often took dozens of photographs of a subject and with a keen eye selected the one to be published. Today, in the age of the digital image, snapshots are part of everyday life we can remove failed shots from the camera instantly. In Cartier- Bressons day, each picture was exposed on film and could only be viewed after the film was developed.

If you had to give a title to the picture, what would it be? Find out the title that the photographer himself gave to the picture: what does it tell you? Look at the persons in the picture: What can you tell about them by looking at their face, expression, gestures, pose or clothes? What do you think they could be thinking at the moment the picture was taken? Recent history: How is the change in everyday places, fashion and lifestyle visible in the pictures?

Does a black-and-white photo-graph contain more tonalities than a colour photo contrasts between light and dark,. Is it possible for a black-and-white picture to be joyful, funny and colourful?

Is there something in the picture that reminds you of your own life? Can you see something familiar in it? Camera angles: How are the objects and the people positioned in the picture?

Are they shown directly from the front, or from a low or a high angle? How is the picture framed how has the photographer positioned the subject inside the picture? What do you think there can be beyond the frames of the picture? Was the picture taken for some particular purpose propaganda, advertising, lobbying, something else? Does the picture tell something about the photographer? Does it tell you something about the photographers attitude or opinions?

Can you tell whether the picture shows:. Two online sources in particular should be mentioned:. The website of Magnum Photos, the photo agency Cartier-Bresson co-founded with colleagues in www. For school groups, we also recommend the Pimi, darkroom exhibition at the Finnish Museum of Photography, which is open until 31 January The experiential exhibition ap-peals to the senses and serves as an introduction to the world of the photographs under the guid-ance of professional and amateur photographers.

Select one picture for study, either from this package, from online material, or from the ex-hibition. Use the picture to discuss some of the following questions:. Aim: To discuss the questions of what a pho-tograph is, how it shows the world, what is true and what is interpretation.

Why have people taken photos in the past? Why are they taking photos now? Activity: Ask each student to bring to class one photograph that is important to them per-sonally. The picture can be one that they have taken themselves, a family photo, a passport photo, a picture cut out from a magazine, down-loaded from the Internet, or a postcard. Ask stu-dents to consider the following themes this can be done individually or in pairs, and be discussed later in a group or as a text assignment.

You can also bring to the classroom examples of different types of pictures beforehand. Is a photograph always true? What is the connection between photograph and reality? Is a photograph a copy of life always accurate and truthful? Can a photograph lie? How do we classify photographs? Consider the purpose of different types of photographs class photo, family photo, passport photo, ins-tagram, advertising photo, photoportrait. How can you tell which type of photograph you are looking at?

Place: At school, in small groups. You will need lots of newspapers and possibly also netzines. Aim: To learn about Henri Cartier-Bressons photographs and present-day news images, and to analyse them. Activity: First study Cartier-Bressons pic-tures at the website www. Then study Finnish newspapers and their photographs in small groups. Select one or two articles or news stories that carry a photograph.

What does the photograph tell us? How has it been used? What information are we told about it? How is the picture linked to the text? What is similar in the newspaper picture and the photographs of Henri Cartier-Bresson? Cameras are need-ed and a way to print the pictures. Activity: Take snapshots at or around the school about some thing or situation that you find interesting and that involves one or more persons. Remember to make sure that you have permission from the people to photograph them.

Print the photos and use them to create a small exhibition together. Find a place in school or nearby where you can put the pictures on display.

Discuss to find a suitable theme, title and hanging for the exhibition. Do you want the exhibition to have texts as well consider what would be a suitable font size and how the text should be placed relative to the pictures , and do you want to have an opening ceremony whom would you invite, what do you want to tell them about the pictures when they come to the open-ing or during the exhibition?

Also discuss, what is an art exhibition and what it takes to organise one. Photojournalist Sami Kero has worked as a photographer for the Helsingin Sanomat daily since Although most of his work takes place in Finland, he has also travelled on photo assignments to several crisis areas around the world. We asked him to describe an ordinary day in the life of a press photographer, and also what makes a photograph a good picture journalisti-cally.

During the interview, Kero also gives a few pointers for taking candid photographs. When Im in Finland, I work three shifts in the paper, morning, day and night. Before going to work, I check the assignment list for shooting gigs. I usually have two or even up to four gigs per day. A shooting gig can be anything. The basic as-signment gives me a date, place, topic and angle. Sometimes the instructions are clear and precise, sometimes they just hang in the air.

For example, if the topic is online job searching, I might take a picture of someone at a computer, looking for. Or if the news story is about con-gestion on the railways, I would want to have a train and lots of people in the picture. The most common assignment is a portrait, taking a picture of an expert or some other per-son associated with a news story.

I often accom-pany the reporter and listen to them doing the interview. Quite often something happens on. I try to wrap all this up in a single picture that relates to the story or the person, a photo that joins together the text and the picture. I often edit and upload the photos while still on assignment, sometimes even directly from the camera. I always send in a few alternative shots. One basic rule is to take pictures from different distances, both near and far as well as vertical and horizontal.

That makes it easier for the newsroom editors to create an interesting and balanced layout. What about when you are working abroad? You have worked in many crisis areas around the world, documenting earthquakes and wars. Its different when you work abroad. You can be sent out to a crisis area at just a few hours notice. Thats what happened to me after the earthquakes in Haiti and Japan.

There are lots of things on international assignments that you must attend to: theres travelling and waiting, and access to locations can be really difficult.

But in principle the work itself is the same as here in Finland: you take photos of people and their life, you show and tell what is happening. My own opinions or world-view matter very little. However, when you work in a crisis situation, you must make sure that by taking photographs and publishing them you are not making the peoples situation any worse.

There are also cultural differences. In Afghani-stan, for example, taking photos of women is a very delicate matter, particularly for a male photographer. Sometimes you can barely manage to take a single photo in some disaster area, for example. Thats why it can seem ridiculous to me when. Observation, message and idea, those are the three basic elements of a good picture. I believe that when the photographer is open-minded and interested, that comes across in the photograph.

A good press photo contains information as well as feeling, the photographer must put both their heart and mind into it. That is also what makes this work so challenging. A press photograph can be about a single moment or a situation, some-thing unique. It can also have great light, great colours or exciting contrasts, pitting something very small against something very large, such a tank against a person.

A photograph can also contain hints of other visual cultures, such as the movies or fine art. Photographs can contain different levels of storytelling. Sometimes I have hidden details in my pictures that some viewers notice and can understand. The basic message remains the same, but it gains one additional reading. Henri Cartier-Bresson did not crop his pictures once he had taken them.

What do you think about editing photographs? For me, the file that you get from the camera is not taboo in the sense that you shouldnt touch it at all.

Sometimes I straighten a picture that came out tilted because the shooting situation was so hectic. But you can neither add or delete any-thing in a press photo afterwards readers must be able to trust that the picture conveys things. Since I specialise in press photography, I always try to create a situation or an event in the photo. When Im taking a picture of a person, I may ask them to do something that they are familiar with, like their work.

For instance, consider the press photograph included in this package: because we were mak-ing a story about guest marinas, the photo would have to include a harbour, a boat and Thomas, the German boater interviewed by the journalist. Those were the basic elements. I was just wrap-ping up, when I noticed a dog in the next boat and decided to wait. A moment later Thomas returned to his boat, and I kind of stole this picture.

Often the subject of a good photograph is not thinking that someone is taking their photo, they are focused on what they do. The most popular press photos have a furry animal in them, some-thing up in the air, or a person in a funny pose. This picture has two of those elements. A good press photo contains new information and also some surprising element that makes the viewer see the world from a slightly different an-.

However, the camera is never perfect, it too makes mistakes. It can distort shapes so that you have to make some minor corrections. Although the technology has developed contin-uously, no Japanese engineer has been able to invent a camera that would record reality as it is.

We always need humans to make the necessary corrections. What comes out of the camera is not absolute truth. Henri Cartier-Bresson is one of the most famous press photographers in the world. How do you see his legacy? First of all, the way Cartier-Bresson composed his pictures remains a starting point for practi-cally all amateur photographers.

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