Artist Essay 01 - Henri Cartier Bresson
Henri Cartier-Bresson was born on 22nd August 1908, he was a French artist and Humanist photographer. Henri Cartier-Bresson pioneered street photography and is known as a master of candid photography. Henri Cartier-Bresson was the eldest of 5 and at a young age he acquired his first camera, a box brownie. His father assumed he would take up the family business, but Henri chose to follow his passion in Photography. His photography was first exhibited in New York in 1932 and then in Madrid not long after. He shared a studio with two photographers he met in the 1930's, in his later life his photography took him to many places such as China, Canada, the United States, Japan and India. Cartier-Bresson was introduced to art by his uncle Louis who was a gifted oil painter, and was fortunate enough to be given lessons by his uncle, however this was sadly cut short as his uncle passed away in WW1. At the age of 20 he entered a private art school and Lhote Gallery. Cartier-Bresson often regarded Lhote as his teacher of 'photography without a camera'. I chose this photographer as I love street photography, I am intrigued by Henri Cartier-Bresson use of black and white and leading lines. Henri Cartier-Bresson’s work gives an insight into an individual’s life. Cartier-Bresson was influenced by the world around him and enjoyed taking photos from a young age. He photographed the occupation of France as well as it’s liberation, he used photography as a way to document the world around him. A key moment for Cartier-Bresson was his set up of Magnum Photography alongside Robert Capa, George Rodger and David ‘Chim’ Seymor. Magnum was set up so that photographers have the right to their photos, this was done because magazine and newspaper editors used to take photographs without giving credit to the photographers who took them. To stop this Magnum aimed to allow photographers to retain the copyright of their photos.
'Hyéres, France'
By Henri Cartier-Bresson
In this photo Cartier-Bresson uses composition to control the eyes of the viewer. The spiral created by the railing leads us into the cyclists and then the vanishing point. This curve is also echoed by the curve in the pavement.
Cartier-Bresson uses the rule of thirds to bring the viewers eyes to the cyclists by places the cyclist on the third line.
This photo is taken from a high vantage point, so we, the viewer are peering down on the action.
This photo is taken in black and white, which takes the “noise” out of the photo and allows the mind to create its own version of the image.
It was taken with a slightly slower shutter speed which we can see with the motion blur of the cyclist. This blur makes an otherwise static photo dynamic, as though the photo itself is moving. This photo was taken with a 50mm lens and was one of the first handheld cameras on the market. This photo was taken as life was restating after the First World War in 1932 and that is echoed through the contrast between the movement of cyclist and the stillness of the architecture that surrounds it. From this photo I will try to use movement and stillness in my own work.
'Alberto Giacometti rue d’Alésia'
By Henri Cartier-Bresson
In this photo depth of field is used to create interest in this image. The leading lines of the road markings brings the viewers eyes toward the hunched over man in the photo.
This photo is in black and white which adds to the moody atmosphere of the photo. By taking this photo in the rain the viewer feels sorry for the man in the middle which provokes sympathy within the viewer.
In this photo the aperture is low as the tree in the front of the photo is out of focus. The shutter speed is relatively fast as the walking man and some of the rain droplets are crisply captured by the camera.
The trees help to guide the viewers eyes around the image and allow for a circular travel around the image. By placing the man in the centre all the focus of the image goes to him.
This photo was taken in 1961 in Paris on a rainy day. Cartier-Bresson took this when walking around Paris.
From this photo I will aim to take photographs in the rain and will use leading lines to bring the view around the image. As well as focusing in on one subject to try to provoke thoughts on the subject’s life.
'Behind the Gare Saint-Lazare'
By Henri Cartier-Bresson
This photo is one of Cartier-Bresson’s most famous pieces and is a snapshot of a man happily jumping over a flooded area in Paris.
This photo is taken just before the man’s heel hits the water which creates a sense of dynamic anticipation as the viewer knows the water will splash but can’t see it happening in the image.
The hazy building in the distance contrasts the spiked fence and the two different elements create a urban background with curves lines and angles.
The reflection of the man in this photo helps bring attention to him.
This photo is taken with a relatively high aperture as the whole photo is in focus. A relatively fast shutter speed is used here to capture the leaping man in focus.
In this photo rule of thirds is used as the leaping man in place on the third line, this adds interest to the photo and helps to transport the viewers eyes around the image.
The spontaneity of this photo, which was captured at a bustling train station in Paris provokes feeling of anticipation in the viewer as the man will never hit the puddle.
This image will permanently be frozen in time. From this photo I will use anticipation in my work to create a narrative for the viewer. I will also experiment with taking photos in crowded and bustling spaces.
In conclusion, Henri Cartier-Bresson is an incredible photographer who pioneered street photography and photojournalism. He is a well-known photographer who has set up an amazing group of Magnum photographers, who still pave the way for photography today. From his photography I will be using black and white photography to create a moody atmosphere as well as using motion to add intrigue to photos. I will also try to incorporate leading lines into my photography to narrate the image.