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
To me, photography is the simultaneous recognition, in a fraction of a second, of the significance of an event.
Interpretation
Photography captures meaningful moments in an instant.
Henri Cartier-Bresson emphasizes the art of photography as not just capturing images but recognizing the deeper significance of a moment within a fraction of a second. This highlights the photographer's eye for detail and the ability to convey emotion and narrative through a single frame.
In practice
In a photography exhibition, this quote could be used to explain the intent behind each displayed photograph.
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).
My films have been progressing towards a certain kind of minimalism, even though it was never intended. Elements which can be eliminated have been eliminated.
I think 'accessible' just means that the reader can walk into the poem without difficulty. The poem is not, as someone put it, deflective of entry.
It's always seemed to me that photography tends to deal with facts whereas film tends to deal with fiction.
I must say here in France I had more serenity or security as I was working because I knew I was making the film the way I wished and that the film would be seen, ultimately, which is not always the case in Iran. In Iran, you always work having in mind this worry of will I be able to carry on my project as I wish and will the audience see the film.
The picture is all he feels about it, all he thinks worth preserving of it, all he invests it with. If all the qualities which a painter took from the model for his picture were really taken, no person could be painted twice.
Imagining [The Wizard of Oz] without Judy Garland is a bit like dancing on wet cement: you can do it, but why would you want to?
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