http://marciaminersroomwithaview.blogspot.com/2011/05/henri-cartier-bresson.html
http://pebblesfromparadise.com/street-photography-cartier-bresson-or-winnogrand/
https://johnnygraphicadventures.com/2013/02/02/another-young-photographer/
http://www.fotobodega.eu/henri-cartier-bresson-1908-2004-master-of-street-photography/
Others didn’t have a real link, went to a pinterest page or something.
http://pebblesfromparadise.com/street-photography-cartier-bresson-or-winnogrand/
https://johnnygraphicadventures.com/2013/02/02/another-young-photographer/
http://www.fotobodega.eu/henri-cartier-bresson-1908-2004-master-of-street-photography/
Others didn’t have a real link, went to a pinterest page or something.
I went down town a couple times the past two weeks. Trying to get street photography that looks like his. I think I did a good job, because the ones I chose work with the ones I liked of his. I also think it shows the change in times from his to mine. The only thing that is different is the angle of the photos.
My images show different shapes, textures, patterns, etc. It shows how different things are now and how different cities look. To me my photos show what Ann Arbor is. It is a very close and populated city, where most people are nice to each other and like to be around others. I wish I got closer photos, but one thing he did was not crop. But for what I got, I am happy with it and it captures what I needed it to.
Personal background:
Henri lived from August 22, 1908 to August 3, 2004. He was a French humanist photographer and was considered the master of candid photography. All of his photos are in black & white and he shot with his 35mm camera. He was born in Chanteloup-en-Brie, Seine-et-Marne, France and was the oldest of five children. His father was a wealthy textile manufacturer. His mother's family were cotton merchants and landowners from Normandy. His parents supported him financially so Henri could pursue photography more freely than his contemporaries. He attended École Fénelon, a Catholic school. Along with photography he tried to learn music, but after he was introduced to oil painting by his uncle Louis, a gifted painter also his great-grandfather had been artist and even his father dabbled in drawing. From 1928 to 1929, Cartier-Bresson studied art, literature, and English at the University of Cambridge. Cartier-Bresson met American expatriate Harry Crosby, who presented Henri with his first camera. Embracing the open sexuality offered by Crosby and his wife Caresse, Cartier-Bresson fell into an intense sexual relationship with her that lasted until 1931. Two years after Harry Crosby committed suicide, Cartier-Bresson's affair with Caresse Crosby ended in 1931, leaving him broken hearted. He got the idea of escaping and finding adventure on the Côte d'Ivoire in French colonial Africa. He survived by shooting game and selling it to local villagers. While there he contracted blackwater fever, which nearly killed him. Then Cartier-Bresson married a Javanese dancer, Ratna Mohini. They lived in a fourth-floor servants' flat in Paris where he also developed film. In 1967, he was divorced from his first wife of 30 years, Ratna "Elie". In 1968, he began to turn away from photography and return to his passion for drawing and painting. He admitted that perhaps he had said all he could through photography. He married Magnum photographer Martine Franck, thirty years younger than himself, in 1970. The couple had a daughter, Mélanie, in May 1972. Cartier-Bresson retired from photography in the early 1970s, and by 1975 no longer took pictures other than an occasional private portrait; he said he kept his camera in a safe at his house and rarely took it out. He returned to drawing and painting. Cartier-Bresson died in Montjustin on August 3, 2004, aged 95. No cause of death was announced. He was buried in the local cemetery.
STYLE:
Cartier-Bresson nearly always used a Leica 35 mm rangefinder camera fitted with a normal 50 mm lens, or occasionally a wide-angle lens for landscapes. He often wrapped black tape around the camera's chrome body to make it less conspicuous. With fast black and white film and sharp lenses, he was able to photograph events unnoticed. No longer bound by a 4×5 press camera or a medium format twin-lens reflex camera, miniature-format cameras gave Cartier-Bresson what he called "the velvet hand...the hawk's eye. Technical aspects of photography were valid for him only where they allowed him to express what he saw. He started a tradition of testing new camera lenses by taking photographs of ducks in urban parks. He never published the images but referred to them as 'my only superstition' as he considered it a 'baptism' of the lens. Cartier-Bresson is regarded as one of the art world's most unassuming personalities. He disliked publicity and exhibited a ferocious shyness since his days of hiding from the Nazis during World War II. Although he took many famous portraits, his face was little known to the world at large. This, presumably, helped allow him to work on the street undisturbed. He denied that the term "art" applied his photographs. In his career, Cartier-Bresson's photography took him to many places, including China, Mexico, Canada, the United States, India, Japan, and the Soviet Union. He became the first Western photographer to photograph "freely" in the post-war Soviet Union. In 1962, on behalf of Vogue, he went to Sardinia for about twenty days. There he visited Nuoro, Oliena, Orgosolo Mamoiada Desulo, Orosei, Cala Gonone, Orani, San Leonardo di Siete Fuentes, and Cagliari.
PHILOSOPHY:
He never photographed with flash, a practice he saw as "impolite...like coming to a concert with a pistol in your hand. He believed in composing his photographs in the viewfinder, not in the darkroom. He showcased this belief by having nearly all his photographs printed only at full-frame and completely free of any cropping or other darkroom manipulation. He insisted that his prints were not cropped as they include the first few millimeters of the unexposed negative around the image area, resulting in a black frame around the developed picture. Cartier-Bresson worked exclusively in black and white, other than a few unsuccessful attempts in color. He disliked developing or making his own prints and showed a considerable lack of interest in the process of photography in general, likening photography with the small camera to an "instant drawing".
INFLUENCES:
He influenced me by showing me that some of the best photos can be taken in action. And not all planned out. And when I say action I don’t me someone playing a sport. I mean someone who is just doing a normal everyday activity and I take their photo, and they may never know. Also when he accepted an honorary degree from Oxford University in 1975, he held a paper in front of his face to avoid being photographed. In a Charlie Rose interview in 2000, Cartier-Bresson said that it wasn't necessarily that he hated to be photographed, but it was that he was embarrassed by the notion of being photographed for being famous. Cartier-Bresson believed that what went on beneath the surface was nobody's business but his own. I love that he said that, especially since him being a photographer and photographing famous scenes and people. It just shows that some famous people don’t want more attention and that they’re still genuine.
Henri lived from August 22, 1908 to August 3, 2004. He was a French humanist photographer and was considered the master of candid photography. All of his photos are in black & white and he shot with his 35mm camera. He was born in Chanteloup-en-Brie, Seine-et-Marne, France and was the oldest of five children. His father was a wealthy textile manufacturer. His mother's family were cotton merchants and landowners from Normandy. His parents supported him financially so Henri could pursue photography more freely than his contemporaries. He attended École Fénelon, a Catholic school. Along with photography he tried to learn music, but after he was introduced to oil painting by his uncle Louis, a gifted painter also his great-grandfather had been artist and even his father dabbled in drawing. From 1928 to 1929, Cartier-Bresson studied art, literature, and English at the University of Cambridge. Cartier-Bresson met American expatriate Harry Crosby, who presented Henri with his first camera. Embracing the open sexuality offered by Crosby and his wife Caresse, Cartier-Bresson fell into an intense sexual relationship with her that lasted until 1931. Two years after Harry Crosby committed suicide, Cartier-Bresson's affair with Caresse Crosby ended in 1931, leaving him broken hearted. He got the idea of escaping and finding adventure on the Côte d'Ivoire in French colonial Africa. He survived by shooting game and selling it to local villagers. While there he contracted blackwater fever, which nearly killed him. Then Cartier-Bresson married a Javanese dancer, Ratna Mohini. They lived in a fourth-floor servants' flat in Paris where he also developed film. In 1967, he was divorced from his first wife of 30 years, Ratna "Elie". In 1968, he began to turn away from photography and return to his passion for drawing and painting. He admitted that perhaps he had said all he could through photography. He married Magnum photographer Martine Franck, thirty years younger than himself, in 1970. The couple had a daughter, Mélanie, in May 1972. Cartier-Bresson retired from photography in the early 1970s, and by 1975 no longer took pictures other than an occasional private portrait; he said he kept his camera in a safe at his house and rarely took it out. He returned to drawing and painting. Cartier-Bresson died in Montjustin on August 3, 2004, aged 95. No cause of death was announced. He was buried in the local cemetery.
STYLE:
Cartier-Bresson nearly always used a Leica 35 mm rangefinder camera fitted with a normal 50 mm lens, or occasionally a wide-angle lens for landscapes. He often wrapped black tape around the camera's chrome body to make it less conspicuous. With fast black and white film and sharp lenses, he was able to photograph events unnoticed. No longer bound by a 4×5 press camera or a medium format twin-lens reflex camera, miniature-format cameras gave Cartier-Bresson what he called "the velvet hand...the hawk's eye. Technical aspects of photography were valid for him only where they allowed him to express what he saw. He started a tradition of testing new camera lenses by taking photographs of ducks in urban parks. He never published the images but referred to them as 'my only superstition' as he considered it a 'baptism' of the lens. Cartier-Bresson is regarded as one of the art world's most unassuming personalities. He disliked publicity and exhibited a ferocious shyness since his days of hiding from the Nazis during World War II. Although he took many famous portraits, his face was little known to the world at large. This, presumably, helped allow him to work on the street undisturbed. He denied that the term "art" applied his photographs. In his career, Cartier-Bresson's photography took him to many places, including China, Mexico, Canada, the United States, India, Japan, and the Soviet Union. He became the first Western photographer to photograph "freely" in the post-war Soviet Union. In 1962, on behalf of Vogue, he went to Sardinia for about twenty days. There he visited Nuoro, Oliena, Orgosolo Mamoiada Desulo, Orosei, Cala Gonone, Orani, San Leonardo di Siete Fuentes, and Cagliari.
PHILOSOPHY:
He never photographed with flash, a practice he saw as "impolite...like coming to a concert with a pistol in your hand. He believed in composing his photographs in the viewfinder, not in the darkroom. He showcased this belief by having nearly all his photographs printed only at full-frame and completely free of any cropping or other darkroom manipulation. He insisted that his prints were not cropped as they include the first few millimeters of the unexposed negative around the image area, resulting in a black frame around the developed picture. Cartier-Bresson worked exclusively in black and white, other than a few unsuccessful attempts in color. He disliked developing or making his own prints and showed a considerable lack of interest in the process of photography in general, likening photography with the small camera to an "instant drawing".
INFLUENCES:
He influenced me by showing me that some of the best photos can be taken in action. And not all planned out. And when I say action I don’t me someone playing a sport. I mean someone who is just doing a normal everyday activity and I take their photo, and they may never know. Also when he accepted an honorary degree from Oxford University in 1975, he held a paper in front of his face to avoid being photographed. In a Charlie Rose interview in 2000, Cartier-Bresson said that it wasn't necessarily that he hated to be photographed, but it was that he was embarrassed by the notion of being photographed for being famous. Cartier-Bresson believed that what went on beneath the surface was nobody's business but his own. I love that he said that, especially since him being a photographer and photographing famous scenes and people. It just shows that some famous people don’t want more attention and that they’re still genuine.
10 things Henri Cartier-Bresson can teach you about street photography:
Focus on geometry
Be patient
Travel
Stick to one lens
Take photos of children
Be unobtrusive
See the world like a painter
Don’t crop
Don’t worry about processing
Always strive for more
Focus on geometry
Be patient
Travel
Stick to one lens
Take photos of children
Be unobtrusive
See the world like a painter
Don’t crop
Don’t worry about processing
Always strive for more