The (In)Decisive Moment
Henri Cartier-Bresson
Henri Cartier-Bresson (1908–2004) was one of the most influential photographers in history. Henri Cartier-Bresson started out as an artist, focusing on painting and surrealism early on in his life. In 1932, Cartier-Bresson discovered the Leica, and fell in love with the spontaneity of photography and photojournalism. He enjoyed quite rapid success particularly in the 1930s, before the outbreak of The Second World War. After The Second World War, Henri Cartier-Bresson founded Magnum Photos, one of the world's biggest photo agencies, alongside Robert Capa and other famous photographers. In 1952, Henri Cartier-Bresson published The Decisive Moment, a collection of his photographs from two decades and one of his most famous and influential books. Cartier-Bresson continued photography, travelling around the world as a photojournalist, up until 1968 when he began to curtail his photography and returned to drawing and painting mainly. Henri Cartier-Bresson pioneered photojournalism and photographed some of the biggest events in the 20th century. He is considered a master of street photography and his ability to capture the spontaneous and 'decisive' moment. He was hugely influential and influenced many of the most famous photographers in recent history, such as the likes of Robert Frank, Gary Winogrand, joel Meyerowitz and William Egglestone.
"For me the camera is a sketch book, an instrument of intuition and spontaneity, the master of the instant which, in visual terms, questions and decides simultaneously. In order to give a “meaning” to the world, one has to feel involved in what one frames through the viewfinder. This attitude requires concentration, discipline of mind, sensitivity, and a sense of geometry. It is by economy of means that one arrives at simplicity of expression.
To take a photograph is to hold one’s breath when all faculties converge in a face of fleeing reality. It is at that moment that mastering an image becomes a great physical and intellectual joy.
To take a photograph means to recognize, simultaneously and within a fraction of a second‚ both the fact itself and the rigorous organization of visually perceived forms that give it meaning.
It is putting one‚ head, one‚ eye, and one‚ heart on the same axis."
To take a photograph is to hold one’s breath when all faculties converge in a face of fleeing reality. It is at that moment that mastering an image becomes a great physical and intellectual joy.
To take a photograph means to recognize, simultaneously and within a fraction of a second‚ both the fact itself and the rigorous organization of visually perceived forms that give it meaning.
It is putting one‚ head, one‚ eye, and one‚ heart on the same axis."
The Decisive MomentHenri Cartier-Bresson published Images à la sauvette (Images on the Run), or The Decisive Moment as the English title in 1952. It contained a portfolio of 162 of his photographs, listed chronologically and organised by his travels East and West. The Decisive moment was one of the most influential and important photography books of the 20th century. It showed Henri Cartier-Bresson's technique, depicting how he could release the shutter at the at the perfect moment; where all the elements and components in a photograph come together at just the right moment to capture a perfect composition. The Decisive moment emcompasses and describes his photographic style perfectly, many of his photographs were taken at the point that a perfect composition is created. His style is summaried well in the introduction of the book, “Photography is the simultaneous recognition, in a fraction of a second, of the significance of an event as well as of a precise organisation of forms which give that event its proper expression.”
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I also find the way in which he often composes his images very interesting, and helps explain how he created so many perfect compositions. It can greatly help and allow us to understand his photographic technique, and help us to replicate and use his style as inspiration. He often found an interesting composition, and waited until someone to walk through, waiting for the perfect moment to press the shutter release button. Taken from this Guardian article: 'Cartier-Bresson always emphasised the importance of composition, and liked to “instinctively fix a geometric pattern” into which a chosen subject fitted. The idea that he lay in wait for someone to walk into a precomposed frame may explain his extraordinary hit rate – but it runs contrary to the French title, Images on the Run, which suggests exactly the opposite.'
Gallery of The Decisive Moment
Annotations
My first set of images
I took these images around school, using Henri Cartier-Bresson as inspiration. When taking these photos, I often composed a composition, thinking about lines and shapes and the composition of the photo. For example, I though about different diagonals especially as well as rules like the rule of thirds. I then waited for people to enter or walk through the frame, and I would press the shutter release as they were moving. Henri Cartier-Bresson often used this technique to compose his often complex compositions. I often used a relatively slow shutter speed (mostly between 1/25 and 1/5 of a second), so that the figures would be motion blurred; this gives an impression of movement, and Cartier-Bresson sometimes did this in his photographs. I often had to brace myslef against a wall or place the camera on a flat surface when taking images with slower shutter speeds, so that the images wouldn't have any blur due to shaking hands.
I think that these images show some inspiration from Henri Cartier-Bresson. I think some of the blurred figures walking through geometric compositions are quite interesting. However, I could edit a few of these as a few are quite dark and gloomy - the light was quite poor on that day. I could also edit them and turn apply a monochrome filter-similarly to the appearance of Cartier-Bresson's Black and White images.
Nick Waplington
The Indecisive Memento
The Indecisive is a photography book by Nick Waplington, documenting his travels around the world. it is one of Nick's best known photobooks, and shows one of his many different styles and approaches to art; Nick doesn't have a signature style. Nick Waplington described this book as 'Anti Henri Cartier Bresson', as he didnt want to capture the perfect or decisive moment (he wanted to do the opposite). Nick Waplington also rejected Henri Catier-Bresson's style of photography and traditional, and his signature black and white photojournalism.
When photographing, Waplington wanted to take more slack, looser photographs, not 'perfect' photos; he also said that the journey is the work of art in this book.
When photographing, Waplington wanted to take more slack, looser photographs, not 'perfect' photos; he also said that the journey is the work of art in this book.
Nick Waplington Talk
iI enjoyed the talk that Nick Waplington gave us when he visited. It was really interesting to listen to him talking about his work, after reading articles and studying his work. I learnt a lot from him speaking to us, and found out much more than I had read in articles about him. I was particularly interested in his description of his book 'The Indecisive Memento', especially his technique and motive for creating the book. What he said about his approach and ideas creating The Indecisive Memento helped inspire my own photographs (my journey photographs inspired by the indecisive memento). I found the advice that he gave us particularly useful as well, especially the advice concerning photography and to document my surroundings.
My Response: Photographing a Journey
This set of images was taken in response to Nick Waplington's Indecisive Momento. Nick Waplington photographed the Indecisivie Momento whilst travelling, saying that the journey itself is the work of art in this book. In response, I also photographed a journey between my house and my desination, Deptford high street. I documented my travels using a fixed 35mm lens, as I could quickly compose my photographs without having to wasted time zooming; I also like photographing at this focal length. Similarly to Nick Waplington, I wanted to make more impromtu photographs, I wasn't looking for 'perfect' images taken at the decisive moment. I didnt spend lots of time composing a 'perfect composition' and waiting for someone to walk into the frame; However, I spent a bit of time composing the frame/composition in a couple of my photos.
I was inspired and tired to emulate Nick's ability to find and focus on intersting details. When photographing, particularly in Deptford, I tried to find interesting colours and details in my surroundings. Not only this, the Indecisive Momento feautures quite some portraiture and figures. When arriving at my destination, I photographed a range of different people. Some people I quickly photographed, whereas I asked to take the portrait of a couple of other individuals, particularly shopkeepers.
My full resolution images can be found here
I was inspired and tired to emulate Nick's ability to find and focus on intersting details. When photographing, particularly in Deptford, I tried to find interesting colours and details in my surroundings. Not only this, the Indecisive Momento feautures quite some portraiture and figures. When arriving at my destination, I photographed a range of different people. Some people I quickly photographed, whereas I asked to take the portrait of a couple of other individuals, particularly shopkeepers.
My full resolution images can be found here
Overall I was quite pleased with the outcome of this set of photographs. I quite like a few different small details and compositions that I managed to capture. I particularlylike the outcome of the photographs taken in Deptford, as it was an interesting urban landscape to photograph. I am pleased with some of the porraits that I managed to takpe, especially photos taken at large apertures (the defocused background makes the eye focus on the subject, and the details on their face), However, I would like to take more impromptu, street photography style portraits; although I am pleased with the portraits, as few look a bit staged. I think this set of images shows/tells the story of the journey quite well - however, it is easy to loose track towards the end of the gallery. I think these photographs show inspiration from Nick Waplington realtively well, taking inspiration from his travels and journey. However, I could vary the types of images I am taking; similarly to Nick, who takes a wide variety of different photographs-in terms of style, composition, colour/tone etc . Also, I could get closer with a few of my subjects, particualy in terms of street photography.