تويت
هنري كارتييه - بريسون : التقاط "اللحظة الحاسمة"
.. تطوير نهجك الخاص .. المرشد خطوة بخطوة للتصوير الفوتوغرافي
HENRI CARTIER - BRESSON : Capturing the " decisive moment "
Henri Cartier - Bresson is one of the world's best - known reportage photographers . He is famous for his philosophy of the " decisive moment " that point in time when all the transitory elements of form and content in a scene fuse into a harmonious and telling composition . Indeed , " The Decisive Mo- ment " , was the title of his first book of photographs ( 1952 ) , and has become synonymous with his particular approach to photography . In this book he defined photography as " the simultaneous recog- nition , in a fraction of a second , of the significance of an event as well as of a precise formal organization which brings that event to life ... "
Cartier - Bresson sees himself as an obser- ver . using his photography passively to record the often unnoticed , but nevertheless significant aspects of daily life . His approach to his subjects is always unobtrusive and respectful and he would never think of contriving a photograph by posing his subjects or by altering their setting . In his photographs people seem dovetailed into their environment and yet they do not lack a feeling of life and movement .
Although Cartier - Bresson describes him- self as a photojournalist , very few of his pictures actually treat journalistic events in the orthodox sense . For he is concerned with the natural and typical rather than the sensational , with recognizing the timeless significance of ordinary moments , rather than recording a historical event .
The amount of equipment used by Cartier - Bresson is minimal consistent with his belief in realism and his desire to work unnoticed . His photographs do not rely on special equipment or techniques . He works exclusively with a 35 mm direct view- finder camera , mostly restricting himself to a normal 50 mm lens with an aperture of f2 . If the situation demands it , he will use a 35 mm or 90 mm lens but in general his approach to his subject calls for the most natural and realistic viewpoint . He never uses intrusive , additional lighting such as flash , preferring instead to use a high speed film if light is dim . His pictures are never re- touched and rarely cropped as he believes that cropping can seldom save a picture that is compositionally weak . He edits his pictures from contact sheets and has prints made for him according to his instructions . feeling that his time is better spent with the camera than in the darkroom .
Jerusalem , 1967
A fine example of Cartier - Bresson's use of the " decisive moment " . Each of these four Hasidic Jews is beautifully placed within the line and tone structure of the image . To help him achieve this balance of form and content , Cartier - Bresson uses a reversing prism fixed to the top of his Leica . The image appears upside down , so that he concen- trates on the composition without being distracted by the subject . When all elements of the picture are at their maximum expressive- ness , he presses the shutter .
Liverpool , 1963
The heavy tone and strong shape of the ruined wall forms a frame- within - a - frame for the running figures . Cartier - Bresson once wrote : " inside movement , there is one moment at which all the elements in motion are in balance " .
Kashmir , 1948
A group of Moslem women on the slopes of a hill in Srinagar pray toward the sun rising behind the Himalayas . For a brief moment , the gray figures set against the spec- tacular landscape seem to symbolize prayer and supplication .
.. تطوير نهجك الخاص .. المرشد خطوة بخطوة للتصوير الفوتوغرافي
HENRI CARTIER - BRESSON : Capturing the " decisive moment "
Henri Cartier - Bresson is one of the world's best - known reportage photographers . He is famous for his philosophy of the " decisive moment " that point in time when all the transitory elements of form and content in a scene fuse into a harmonious and telling composition . Indeed , " The Decisive Mo- ment " , was the title of his first book of photographs ( 1952 ) , and has become synonymous with his particular approach to photography . In this book he defined photography as " the simultaneous recog- nition , in a fraction of a second , of the significance of an event as well as of a precise formal organization which brings that event to life ... "
Cartier - Bresson sees himself as an obser- ver . using his photography passively to record the often unnoticed , but nevertheless significant aspects of daily life . His approach to his subjects is always unobtrusive and respectful and he would never think of contriving a photograph by posing his subjects or by altering their setting . In his photographs people seem dovetailed into their environment and yet they do not lack a feeling of life and movement .
Although Cartier - Bresson describes him- self as a photojournalist , very few of his pictures actually treat journalistic events in the orthodox sense . For he is concerned with the natural and typical rather than the sensational , with recognizing the timeless significance of ordinary moments , rather than recording a historical event .
The amount of equipment used by Cartier - Bresson is minimal consistent with his belief in realism and his desire to work unnoticed . His photographs do not rely on special equipment or techniques . He works exclusively with a 35 mm direct view- finder camera , mostly restricting himself to a normal 50 mm lens with an aperture of f2 . If the situation demands it , he will use a 35 mm or 90 mm lens but in general his approach to his subject calls for the most natural and realistic viewpoint . He never uses intrusive , additional lighting such as flash , preferring instead to use a high speed film if light is dim . His pictures are never re- touched and rarely cropped as he believes that cropping can seldom save a picture that is compositionally weak . He edits his pictures from contact sheets and has prints made for him according to his instructions . feeling that his time is better spent with the camera than in the darkroom .
Jerusalem , 1967
A fine example of Cartier - Bresson's use of the " decisive moment " . Each of these four Hasidic Jews is beautifully placed within the line and tone structure of the image . To help him achieve this balance of form and content , Cartier - Bresson uses a reversing prism fixed to the top of his Leica . The image appears upside down , so that he concen- trates on the composition without being distracted by the subject . When all elements of the picture are at their maximum expressive- ness , he presses the shutter .
Liverpool , 1963
The heavy tone and strong shape of the ruined wall forms a frame- within - a - frame for the running figures . Cartier - Bresson once wrote : " inside movement , there is one moment at which all the elements in motion are in balance " .
Kashmir , 1948
A group of Moslem women on the slopes of a hill in Srinagar pray toward the sun rising behind the Himalayas . For a brief moment , the gray figures set against the spec- tacular landscape seem to symbolize prayer and supplication .
تعليق