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Dick Simon of Simon & Schuster came up with the English title The Decisive Moment. Margot Shore, Magnum's Paris bureau chief, translated Cartier-Bresson's French preface into English. "Photography is not like painting," Cartier-Bresson told the Washington Post in 1957. "There is a creative fraction of a second when you are taking a picture.
It could be argued that candid photography is the purest form of photojournalism. There is a fine line between photojournalism and candid photography, a line that was blurred by photographers such as Bresson and Weegee. Photojournalism often sets out to tell a story in images, whereas candid photography simply captures people living an event.
Behind the Gare Saint-Lazare (1932). Behind the Gare Saint-Lazare is a black and white photograph taken by French photographer Henri Cartier-Bresson in Paris in 1932. The photograph has been printed at variable dimensions; the print donated by Cartier-Bresson to the Museum of Modern Art is listed at 35.2 × 24.1 cm. [1] It is one of his best known and more critically acclaimed photographs and ...
Humanist Photography, also known as the School of Humanist Photography, [1] manifests the Enlightenment philosophical system in social documentary practice based on a perception of social change. It emerged in the mid-twentieth-century and is associated most strongly with Europe, particularly France , [ 2 ] where the upheavals of the two world ...
The vicissitudes of the daily life in all his monotony and the historical are recurring in his wide-ranging body of work. This does not mean that Gageiro's images are merely accurate snapshots, the decisive moment he tends to capture is often gently composed and finely balanced. True to this tradition, Gageiro works exclusively in black and white.
His heroes in photography were individuals such as Henri Cartier-Bresson and Brassai, and like them he sought to discover “the decisive moment” (as Cartier-Bresson called it in his landmark 1952 book, The Decisive Moment) in his subjects through his camera.
Myles had issues with the way in which photography had come to represent reality as ‘decisive moments,’ as photographer Henri Cartier-Bresson sought to capture. The artist started to explore different ways of capturing the ways that the human mind perceives events, and likewise, the way that memories are constructed.
Moments are like minutes and hours, days and weeks: one just follows another. It is people who are decisive or indecisive; not the moments in time. As a photographer, you created the image. You decide when to release the shutter. You, the photographer, are the decisive element in the taking of the photograph, not some hyped-up moment.