Martine Franck | Henri Cartier-Bresson

Posted: April 8th, 2013 | Author: | Filed under: Film, Leica, Photography, Quotes

Henri Cartier-Bresson © MartineFranck, Magnum Photos

Henri Cartier-Bresson © MartineFranck, Magnum Photos

A photograph isn’t necessarily a lie, but nor is it the truth. It’s more of a fleeting, subjective impression. What I most like about photography is the moment that you can’t anticipate: you have to be constantly watching for it, ready to welcome the unexpected.

- Martine Franck


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Henri Cartier-Bresson | Harlem, New York, 1947

Posted: March 31st, 2013 | Author: | Filed under: Film, Leica, New York City, Photography

The 2012 exhibit in London, Cartier-Bresson: A Question of Colour exhibit, featured 10 never before seen images from the master.

Here is the second of two that I have posted.

Harlem, New York, 1947 © Henri Cartier-Bresson, Magnum Photos

Harlem, New York, 1947 © Henri Cartier-Bresson, Magnum Photos


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Henri Cartier-Bresson | Brooklyn, New York, 1947

Posted: March 29th, 2013 | Author: | Filed under: Film, Leica, New York City, Photography

The 2012 exhibit in London, Cartier-Bresson: A Question of Colour exhibit, featured 10 never before seen images from the master.

Here is one of them. The next one will be posted in a couple of days.

Brooklyn, New York, 1947 © Henri Cartier-Bresson, Magnum Photos

Brooklyn, New York, 1947 © Henri Cartier-Bresson, Magnum Photos


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Arnold Newman | W. Eugene Smith

Posted: November 6th, 2012 | Author: | Filed under: Film, New York City, Photography, Quotes

W. Eugene Smith, 1977 © Arnold Newman

W. Eugene Smith, 1977 © Arnold Newman

The man who put it so beautifully was Eugene Smith who is a very dear friend of mine, probably the greatest photojournalist that ever lived. Cartier-Bresson is not a photojournalist. He takes individual images if you really look at them. When he came back from Japan, and he had a crowd of younger photographers around him at the ICP where they discussing his Minamata story, he began to realize as a lot of us did in that room, that they were thinking that if they only had access to a subject like Minamata, they too could become great photojournalists.

He realized this and what he said was, wait a minute. First, you have to be a good artist before you can be a good photojournalist.

And that is the essence of our art.

- Arnold Newman


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Arnold Newman | Portraits

Posted: November 4th, 2012 | Author: | Filed under: Architecture, Cinema, Film, Los Angeles, New York City, Painting, Photography, Quotes

Roy Lichtenstein, 1976 © Arnold Newman

Roy Lichtenstein, 1976 © Arnold Newman

If it’s a good photograph and says something about the person, than I think it’s a good portrait.

- Arnold Newman

Piet Mondrian, 1942 © Arnold Newman

Piet Mondrian, 1942 © Arnold Newman

I wasn’t mimicking it (Mondrian’s style), I was echoing it. I did it deliberately and when he saw the results, he loved it. He gave me the original drawings of Broadway Boogie-Woogie. It was the only thing he could give me. I was stunned at the time.

The thing is I was trying to say with my photographs what Mondrian meant to me. That I would copy his work or anybody else’s in order to do it to me would be horrifying because I would be copying and not creating. A lot of people do that. The man by the way is stiff, linear and very formal, just like his own work.

- Arnold Newman

Truman Capote, 1977 © Arnold Newman

Truman Capote, 1977 © Arnold Newman

Ayn Rand, 1964 © Arnold Newman

Ayn Rand, 1964 © Arnold Newman

Ava Gardner, 1949 © Arnold Newman

Ava Gardner, 1949 © Arnold Newman

Movie stars, actors…all they have is themselves. They have no other ability but to go on and portray somebody else. They don’t know how to be themselves. And it becomes a very difficult thing. Very rarely a great artist, not rarely, but only a few of them can say I don’t really care, I have warts, photograph me with the warts.

- Arnold Newman

Carl Sandburg and Marilyn Monroe, 1962 © Arnold Newman

Carl Sandburg and Marilyn Monroe, 1962 © Arnold Newman

I was acquainted with Carl at that time. He was working on the west coast, working on the words of Jesus in the Greatest Story Ever Told. He said come on out, let’s start work. I stayed with a friend of mine, a producer on a film, Something’s Got To Give. And that was of course the film that Marilyn didn’t finish.

I never saw the glamorous creature. Oh, I saw flashes of her in public and all that. But in the privacy of the home and wherever we were at, and later at my home, I saw nothing but a sad, sick girl.

- Arnold Newman

Leonard Bernstein, 1968 © Arnold Newman

Leonard Bernstein, 1968 © Arnold Newman

Max Ernst, 1942 © Arnold Newman

Max Ernst, 1942 © Arnold Newman

You wait for things to happen. Let’s say, I think I would like to photograph you over here, how about you standing behind the desk for a moment for me, and they’ll do that. Now, let’s face it, if you’ve got a very irritable subject or a man who is pretty rough and tough, President Johnson specifically, why don’t you just stand there for a few minutes, you just can’t do that. As a matter of fact, he gave me fifteen minutes, of course I took forty five. The idea was was that I was loosening him up, to get him used to the idea of photographing. I had to take a risk, my first risk shots, my insurance pictures at the beginning. They were not bad, but they were stiff and he was uptight, looking at his watch mentally.

Later, I got him to relax, we were kidding, he leaned sort of like this as he was waiting for me to get my camera ready again, which before he was very upset that I wasn’t ready. I was doing this on purpose. Finally, when he was like this, I said, don’t move.

- Arnold Newman

Alfred Krupp, 1963 © Arnold Newman

Alfred Krupp, 1963 © Arnold Newman

The worst people in the world, the real villains of today very often as Hitchcock said, hide in broad daylight, you just don’t recognize them. That’s the way Krupp was. He looked like a nice distinguished gentlemanly human being and he looked at my pictures and said, “Mr. Newman, I love your photographs so I think maybe we should take photographs.”

I worked this out where I got the lights to come under him, the usual thing. The result was that when I got him there, it was working but not really working. I had built a little platform of about two meters high, long enough to accommodate the both of us, him straddling a chair. I didn’t want to over do it. The lights were working beautifully but it just didn’t give me what I wanted. I went to Herr Bolen, that was his family name, “would you lean forward” and he leaned this way and my hair stood on end. There was the devil.

And they declared me persona non grata in Germany.

- Arnold Newman

Arthur Miller, 1947 © Arnold Newman

Arthur Miller, 1947 © Arnold Newman

John F. Kennedy © Arnold Newman

John F. Kennedy © Arnold Newman

Portraiture is a term that has taken on all these barnacles, all these terrible things that have happened to portraiture, on canvas, on stone, on metal, and then in photography. It’s something that is done to please the subject. A photographer is nothing more than a whore who does nothing but sit there thinking, will it please the subject, will i be able to sell him this picture, or will I be able to please him so he will buy it.

And the result is that little by little, people have begun to look down at portraiture, forgetting that the greatest artists in the world from Rembrandt, to Holbein, on up to Stieglitz and Strand, what have you, have all done portraiture and loved it. I happen to particularly love photographing people.

- Arnold Newman

Bill Clinton © Arnold Newman

Bill Clinton © Arnold Newman

Ansel Adams, 1975 © Arnold Newman

Ansel Adams, 1975 © Arnold Newman

Man Ray, 1948 © Arnold Newman

Man Ray, 1948 © Arnold Newman

Well, I didn’t mean to make a series of photographs on artists. My intent was explicitly to experiment with portraiture. And I hate the word portraiture. I prefer to call it photographs of people.

When I came to New York, you have to understand, in 1938, things were still bad from the depression and there wasn’t much money. I was unknown. I had this desire to make photographs of people but I didn’t know anyone. The ones that I wanted to meet, the ones that seemed to me, gave me the greatest opportunity…the artists were absolutely perfect.

- Arnold Newman

Salvador Dali, 1951 © Arnold Newman

Salvador Dali, 1951 © Arnold Newman

Henri Cartier-Bresson, NYC, 1947 © Arnold Newman

Henri Cartier-Bresson, NYC, 1947 © Arnold Newman

Cartier-Bresson is not a photojournalist. He takes individual images if you really look at them.

- Arnold Newman

Marc Chagall, 1942 © Arnold Newman

Marc Chagall, 1942 © Arnold Newman

Course Stieglitz was a man who I greatly admired and I had no idea that I was going to meet him. I do remember the fact that kept using words like inventive but the word that he kept using was honesty. He kept urging me then and later to be honest.

- Arnold Newman

Jean Dubuffet, 1956 © Arnold Newman

Jean Dubuffet, 1956 © Arnold Newman

Frank Lloyd Wright, 1947 © Arnold Newman

Frank Lloyd Wright, 1947 © Arnold Newman

Great photographs are not made with a camera. They are made by a human being with a mind. And he uses a tool. If that tool cannot make a great work of art, then he discards the tool. As long as the tools are available to us to make something that satisfies us, we’ll use it, no matter how imperfect it is.

- Arnold Newman

I.M. Pei, 1967 © Arnold Newman

I.M. Pei, 1967 © Arnold Newman

Claes Oldenburg, 1967 © Arnold Newman

Claes Oldenburg, 1967 © Arnold Newman

Igor Stravinsky, 1946 © Arnold Newman

Igor Stravinsky, 1946 © Arnold Newman

It all came to head in just a moment. I had been going to concerts and looking at various instruments. I had already photographed musical instruments in part and in whole and that sort of thing. Suddenly I realized that I had been admiring the shape of the piano and suddenly it hit me The piano shape – strong, hard, sharp, linear, beautiful in this strong harsh way was really the echo of Stravinsky’s work, his own music. When I thought about that, reflected on that, I thought where can I get a piano?

We found an editor who had a piano with a very simple wall, very simple background. I was able to manipulate the light on the background by simply taking one 1,000 watt light and moving it around until I got the exact light I wanted.

- Arnold Newman

Marcel Duchamp, 1966 © Arnold Newman

Marcel Duchamp, 1966 © Arnold Newman

Jean Arp, 1949 © Arnold Newman

Jean Arp, 1949 © Arnold Newman

Isamu Noguchi, 1947 © Arnold Newman

Isamu Noguchi, 1947 © Arnold Newman

Pablo Picasso, 1954 © Arnold Newman

Pablo Picasso, 1954 © Arnold Newman

[For the Picasso image] I used a small portion of a 4×5 negative which was part of a series that I did. I love the whole photograph, I still think that that is a successful photograph. What I realized in examining the photograph, the most exciting thing was face and his eyes so I decided to blow up that little section and make that the full image. And I blew it up and it was so successful, the old story, less is more. The impact of that closely cropped head with those fantastic eyes increased the value of the picture instead of decreasing it and it probably became one of my best known photographs.

- Arnold Newman

Louise Nevelson, 1972 © Arnold Newman

Louise Nevelson, 1972 © Arnold Newman


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Henri Cartier-Bresson | Copenhagen

Posted: January 9th, 2012 | Author: | Filed under: Film, Photography

COPENHAGEN, Denmark—1953. © Henri Cartier-Bresson / Magnum Photos

COPENHAGEN, Denmark—1953. © Henri Cartier-Bresson / Magnum Photos


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Henri Cartier-Bresson | Capa & Chim

Posted: December 30th, 2011 | Author: | Filed under: Film, Photography

PARIS—Photographers David Seymour, "Chim," (left) and Robert Capa, 1952. © Henri Cartier-Bresson / Magnum Photos

PARIS—Photographers David Seymour, "Chim," (left) and Robert Capa, 1952. © Henri Cartier-Bresson / Magnum Photos


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Henri Cartier-Bresson | America, Part Two

Posted: December 7th, 2011 | Author: | Filed under: Film, Leica, Photography, Quotes

NEW YORK CITY—West Point cadets and their admiring young ladies attend the Army vs. Notre-Dame football game, 1947. © Henri Cartier-Bresson / Magnum Photos

NEW YORK CITY—West Point cadets and their admiring young ladies attend the Army vs. Notre-Dame football game, 1947. © Henri Cartier-Bresson / Magnum Photos

Actually, I’m not all that interested in the subject of photography. Once the picture is in the box, I’m not all that interested in what happens next. Hunters, after all, aren’t cooks.

-Henri Cartier-Bresson

ANN ARBOR, Mich.—A football game between Michigan and Northwestern, 1960.  © Henri Cartier-Bresson / Magnum Photos

ANN ARBOR, Mich.—A football game between Michigan and Northwestern, 1960. © Henri Cartier-Bresson / Magnum Photos

RENO, Nev.—1947. © Henri Cartier-Bresson / Magnum Photos

RENO, Nev.—1947. © Henri Cartier-Bresson / Magnum Photos

The creative act lasts but a brief moment, a lightning instant of give-and-take, just long enough for you to level the camera and to trap the fleeting prey in your little box.

-Henri Cartier-Bresson

NEW JERSEY—Solitary confinement in the model prison of Leesburg, 1975. © Henri Cartier-Bresson / Magnum Photos

NEW JERSEY—Solitary confinement in the model prison of Leesburg, 1975. © Henri Cartier-Bresson / Magnum Photos

NEW JERSEY—Manhattan and the Hudson River, seen from Hoboken, 1947. © Henri Cartier-Bresson / Magnum Photos

NEW JERSEY—Manhattan and the Hudson River, seen from Hoboken, 1947. © Henri Cartier-Bresson / Magnum Photos

LAGRANGE, Ga.—1961. © Henri Cartier-Bresson / Magnum Photos

LAGRANGE, Ga.—1961. © Henri Cartier-Bresson / Magnum Photos

TEXAS—1957. © Henri Cartier-Bresson / Magnum Photos

TEXAS—1957. © Henri Cartier-Bresson / Magnum Photos

Think about the photo before and after, never during. The secret is to take your time. You mustn’t go too fast. The subject must forget about you. Then, however, you must be very quick.

-Henri Cartier-Bresson

NEW YORK CITY—Manhattan Bankers Trust, 1960.  © Henri Cartier-Bresson / Magnum Photos

NEW YORK CITY—Manhattan Bankers Trust, 1960. © Henri Cartier-Bresson / Magnum Photos

NEW YORK—1959. © Henri Cartier-Bresson / Magnum Photos

NEW YORK—1959. © Henri Cartier-Bresson / Magnum Photos


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Josef Koudelka | Gypsies

Posted: October 28th, 2011 | Author: | Filed under: Books, Film, Photography, Quotes

Finally.

After 35 years, Koudelka’s amazing Gypsies has been released in a new edition by Aperture. With 30 never before seen images and a design that reflects Koudelka’s original intentions, the book is a gorgeous testament to the life of the Roma between 1962 and 1971 in Bohemia, Moravia, Slovakia, Romania, Hungary, France and Spain. After being out of print for so many years, I can finally stop my ceaseless hunting in used bookstores, sit back on the couch, and let Koudelka’s eye take me through the lives of the Roma 40 years ago.

Personally, I have had the good fortune of always being able to do what I wanted, never working for others. Maybe it is a silly principle, but the idea that no one can buy me is important for me. I refuse assignments, even for projects that I have decided to do anyhow. It is somewhat the same with my books. When my first book, the one on the gypsies, was published, it was hard for me to accept the idea that I could no longer choose the people to whom I would show my photos, that any one could buy them.

- Josef Koudelka

Slovakia, 1967. From the book, Koudelka: Gypsies. © Josef Koudelka, Magnum Photos

Slovakia, 1967. From the book, Koudelka: Gypsies. © Josef Koudelka, Magnum Photos

If a picture is good, it tells many different stories.

- Josef Koudelka

Bohemia, 1966. From the book, Koudelka: Gypsies. © Josef Koudelka, Magnum Photos

Bohemia, 1966. From the book, Koudelka: Gypsies. © Josef Koudelka, Magnum Photos

I was never paid for anything in Czechoslovakia, so it was easy to accept not being paid in the West. Also, I was used to a lower living standard.

- Josef Koudelka

France, 1970. From the book, Koudelka: Gypsies. © Josef Koudelka, Magnum Photos

France, 1970. From the book, Koudelka: Gypsies. © Josef Koudelka, Magnum Photos

For me, the most beautiful thing is to wake up, to go out, and to look. At everything. Without anyone telling me “You should look at this or that.” I look at everything and I try to find what interests me, because when I set out, I don’t yet know what will interest me. Sometimes I photograph things that others would find stupid, but with which I can play around. Henri as well says that before meeting a person, or seeing a country, he has to prepare himself. Not me, I try to react to what comes up. Afterwards, I may come back to it, perhaps every year, ten years in a row, and I will end by understanding.

- Josef Koudelka

Spain, 1971. From the book, Koudelka: Gypsies. © Josef Koudelka, Magnum Photos

Spain, 1971. From the book, Koudelka: Gypsies. © Josef Koudelka, Magnum Photos

When I travel, I don’t even know where I am going to sleep, I don’t think of the place where I will lie down until the moment I roll out my sleeping bag. It’s a rule that I’ve set for myself. Because I told myself that I must be able to sleep anywhere, since sleep is important. In the summer I often sleep outdoors. I stop working when there is no more light, and I start again in the early morning. I do not feel this to be a sacrifice, it would be a sacrifice to live otherwise. As for my points of reference, I don’t know what they would be.

- Josef Koudelka


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Henri Cariter-Bresson | Queen Charlotte’s Ball

Posted: April 5th, 2011 | Author: | Filed under: Film, Leica, Photography, Quotes

LONDON—Queen Charlotte's Ball, 1959. © Henri Cartier-Bresson / Magnum Photos

LONDON—Queen Charlotte's Ball, 1959. © Henri Cartier-Bresson / Magnum Photos

During the work, you have to be sure that you haven’t left any holes, that you’ve captured everything, because afterwards it will be too late.

-Henri Cartier-Bresson

LONDON—Queen Charlotte's Ball, 1959. © Henri Cartier-Bresson / Magnum Photos

LONDON—Queen Charlotte's Ball, 1959. © Henri Cartier-Bresson / Magnum Photos


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