Yes totally opposite opinions that's why I quoted it to show that their own notion of truth is totally different as you said
You could quote any number of irrelevant people, though. I don't know what the point is.
You'll notice, for instance, he says "truth is still in colour" when Cartier-Bresson would obviously consider a different idea of what that "truth" is supposed to be - and no one having to do with colour.
Yes totally opposite opinions that's why I quoted it to show that their own notion of truth is totally different as you said
Yes, but that's the reason to not quote it. He's arguing against Cartier-Bresson's position assuming a premise that Cartier-Bresson would disagree with. So he's not talking about the same thing. Anyway, what's any of this have to do with anything?
And then we have this: -
View attachment 414264
Look at the detail in the moment he chose to press the shutter.
And then we have this: -
View attachment 414264
Look at the detail in the moment he chose to press the shutter.
But it lacks something to elevate it even more, I don't know what could that be.
I see that photo as one of the many witty images HCB made where he playfully takes a jab at the people he's ultimately one of. For me, this is one of the images that shows an association between HCB and Martin Parr. Not such a far-fetched notion, either; a quick online search turns up this fairly recent show featuring both photographers' works: https://www.henricartierbresson.org/en/expositions/henri-cartier-bresson-with-martin-parr/ I wasn't aware of the link, but it makes good sense to me. I think this is a neat illustration of what I said before.I don’t really sense an elevation or transformation of the moment
It is very well formed and composed, yes, almost resembling a Renoir-like theme, but for HCB it feels more like a documentation of a scene.
My daughter says get rid of the people and the mess they're making - maybe keep the guy with the bottle but move his mirror image to the other side so he balances the view of the boat.
Improvement.
She has a very good eye. Is she a photographer too?
But it’s not about the boat.
Is she a photographer too?
But it’s not about the boat.
IncredibleNo. She's 11. But she does draw a lot.
It's as much about the boat as anything else, isn't it? It's a scene.
No, I don’t think so. I think it’s about the people relaxing. The boat tells you it’s a river, which might not otherwise be obvious, but its just fortuitous really.It's as much about the boat as anything else, isn't it? It's a scene.
I can’t check whether this one is so captioned
No, I don’t think so. I think it’s about the people relaxing. The boat tells you it’s a river, which might not otherwise be obvious, but its just fortuitous really.
In The Europeans a few of HCB’s photos on this theme are captioned ‘First paid holidays’. I’m away from home so I can’t check whether this one is so captioned. But it’s hard for us today to comprehend what a big step in social history that provision was, and how recent.
I've just been studying a few photobooks upside-down out of curiosity.
I'm reminded of the painter George Baselitz who often presented his subjects upside down.
And BTW, I do wonder why no one seems very interested in HCB's drawings. I don't think there's a book about them. One might think his genius was transferable.
I think the upside down view is just a guide and although I often have a Vidon finder in the shoe of my M2, I don't use it all the time, but perhaps occasionally. It would be interesting to hear from large format photographers who are seeing this all the time. Do they ever change the composition they originally chose when viewing the image upside down and inverted? Francis Meadow Sutcliffe comes to mind as a master of composition.
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