LAMBTON COUNTY, ONTARIO, Canada—Peter, Susanna, and Benjamin Peters in the spring wheat, 1995.
Since his is fundamentally a tragic vision, he reacted most feelingly to what in America he saw as related to its decay, its pain.
-Arthur Miller, writing of the photographs that Cartier-Bresson took in America.
Being a huge fan of John Ford’s “The Quiet Man” since I was a kid, I could not wait to visit the village of Cong in County Mayo where they filmed much of the movie. The tiny village is dominated by tourist traps for fans of the film but off the main strip, things settle down and the quaintness of life in western Ireland takes over.
Drive about an hour north of Galway on Route 334 on the Circular Road and just enjoy the scenery.
Shot with a Nikon F5, 35-70mm Nikkor, and Kodak Tri-X 400.
To live for two months in LA is like being hospitalized.
-Robert Frank, February 27, 1956; from a letter to Walker Evans, while Frank was applying for a continuance of his Guggenheim grant.
My wife and I found the apartment, which I still live in [Kertész passed away in 1985], in 1952. I take many pictures from my balcony. It looks down onto Washington Square.
-André Kertész, Kertész on Kertész
This was an impromptu snowball fight in Times Square around 1AM in the midst of the blizzard Saturday night. The real danger wasn’t the snow and subsequent moisture destroying my gear. No, the real danger was shooting the mayhem with a wide lens which meant that I was a prime target. I had to put the gear down several times for some payback.
One of my favorite single series is Daido Moriyama’s book of wanderings in the Shinjuku neighborhood of Tokyo. Viewing his fractured, scattered, shattered images is to embark on a journey as a furtive outsider, stalking the streets, seeking prey in alleys, noodle shops and sex bars.
As long as I can walk, I will continue wandering the streets.
I want to express the realness of Japan. I want to show what is really going on.
I’m not always a stray dog. Sometimes I’m a cat or an insect.
The streets are my territory and I still wander them aimlessly with my camera.
Magnum Photos has been releasing some images online from their singular historic archives which is an incredible opportunity to study and learn from the masters in their catalog. These images by Henri Cartier-Bresson, some of which have not been widely published, provide a rich insight into his style and process.
I am in awe of him, I am in absolute awe of him. Everyone is a Cartier-Bresson baby…I worship him.
Nothing worth knowing can be taught.
You mustn’t want, you must be receptive. Don’t think even. The brain’s a bit dangerous.
I don’t consider myself a photographer, I am using a camera, but there are millions of photographers….I’m just a human being. Anyone that is sensitive is an artist.
Photography is nothing–it’s life that interests me.
– Henri Cartier-Bresson
They . . . asked me:
‘How do you make your pictures?’ I was puzzled . . .
I said, ‘I don’t know, it’s not important.’
In a portrait, I’m looking for the silence in somebody.
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.
And no photographs taken with the aid of flash light, either, if only out of respect for the actual light – even when there isn’t any of it.
-Henri Cartier-Bresson – “The Decisive Moment”
There is no closed figure in nature. Every shape participates with another. No one thing is independent of another, and one thing rhymes with another, and light gives them shape.