The camera is for us a tool, not a pretty mechanical toy ... people think far too much about techniques and not enough about seeing.
Henri Cartier-BressonRead
I'm not responsible for my photographs. Photography is not documentary, but intuition, a poetic experience. It's drowning yourself, dissolving yourself, and then sniff, sniff, sniff - being sensitive to coincidence. You can't go looking for it; you can't want it, or you won't get it. First you must lose your self. Then it happens.
Interpretation
This quote emphasizes that photography transcends mere documentation and requires an intuitive and immersive experience.
Henri Cartier-Bresson expresses that true photography is not simply about capturing images; it is an intuitive art form that involves losing oneself to fully engage with the moment. He suggests that the essence of photography comes from sensitivity to spontaneity and coincidence, rather than from a deliberate search for it, highlighting the importance of surrendering to the creative process.
In practice
During a photography workshop, the instructor can use this quote to convey the importance of intuition in capturing images.
The camera is for us a tool, not a pretty mechanical toy ... people think far too much about techniques and not enough about seeing.
The most difficult thing for me is a portrait. You have to try and put your camera between the skin of a person and his shirt.
Photography has not changed since its origin except in its technical aspects, which for me are not important.
Photographier: c'est mettre sur la meme ligne de mire la tete, l'oeil et le coeur.
Above all, I craved to seize the whole essence, in the confines of one single photograph, of some situation that was in the process of unrolling itself before my eyes.
Pictures, regardless of how they are created and recreated, are intended to be looked at. This brings to the forefront not the technology of imaging, which of course is important, but rather what we might call the eyenology (seeing).
Whoever wants to know something about me - as an artist which alone is significant - they should look attentively at my pictures and there seek to recognise what I am and what I want.
Guitar was just a hobby, but it seemed to me that the instrument had possibilities, not least of which was that there was no one else playing it. I could be, as it were, the best boy in an all-girls school.
My only worry is the painting I'm doing. Nothing else.
At Sarah Lawrence, I realized that everybody was already what they were going to be. The painters were painting, the writers writing, the dancers dancing. And nobody wore any makeup. The art was uppermost.
Ever since I was a kid, I always wanted to play music that I liked, and even when I was in cover bands when I was a teenager we only played cover tunes that we liked. That was the simple morality that I grew up with.
Too often, if you look back through the history of representation and you take the work of African-American artists, the work is on such a modest scale that it becomes sort of inconsequential.
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