Jacqui Palumbo
Henri Cartier-Bresson stands with his camera
during the 1968 Paris riots. Photo by Alain Nogues/Sygma/Sygma via Getty Images.
Henri Cartier-Bresson viewed
a powerful still image as the hairsbreadth of an instant. To his mind, a
photographer had a fleeting moment when all the moving parts aligned, revealing
something honest and true about the world—the photographer just had to know
exactly when to fire the shutter. A strong composition wasn’t merely a product
of serendipity, though: Cartier-Bresson often chose a setting and waited for
the right elements to take shape in front of his lens.
Cartier-Bresson called the split second of action “the decisive
moment” and titled his famed 1952 photo book with that phrase. His approach has
become ubiquitous in the field of photography, and Cartier-Bresson remains one
of its most famous figures. Yet he came to photography by chance, initially
training as a painter under Cubist artist André Lhote.
In the early 1930s, Cartier-Bresson encountered Three Boys at Lake
Tanganyika (1929) by Martin Munkácsi: an image of three young children, nearly
silhouetted, running into the crashing waves. “It is that very photograph which
was for me the spark that set fire to the fireworks and made me suddenly
realize that photography could reach eternity through the moment,” he once
recalled.
In subsequent decades, Cartier-Bresson became a war documentary
filmmaker, an accomplished photographer for magazines including Life, and a
co-founder of the influential picture agency Magnum Photos. Toward the end of
his career, Cartier-Bressor cut ties with Magnum to return to drawing and
painting. “Photography is an immediate reaction, drawing is a meditation,” he
once described of his dual practices……………………
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