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
...it is seldom indeed that a composition which was poor when the picture was taken can be improved by reshaping it in the dark room.
Interpretation
A poor composition cannot be greatly improved through post-processing.
This quote by Henri Cartier-Bresson emphasizes the importance of capturing a strong composition at the moment of taking a photograph. It suggests that no amount of editing or manipulation in the darkroom can compensate for a fundamental lack of quality in the initial shot, highlighting the significance of skill and intuition in photography.
In practice
In a photography workshop to stress the importance of composition.
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).
She devoured stories with rapacious greed, ranks of black marks on white, sorting themselves into mountains and trees, stars, moons and suns, dragons, dwarfs, and forests containing wolves, foxes and the dark.
I got this idea of doing a really serious big work-it would be precisely like a novel, with a single difference: Every word of it would be true from beginning to end.
Art is purposiveness without purpose.
And I taught acting for years, and without knowing it that was the real thing that started bending me toward directing.
My most persistent memory of stand - up is of my mouth being in the present and my mind being in the future: the mouth speaking the line, the body delivering the gesture, while the mind looks back, observing, analyzing, judging, worrying, and then deciding when and what to say next. Enjoyment while performing was rare - enjoyment would have been an indulgent loss of focus that comedy cannot afford.
The relationship between the public and the artist is complex and difficult to explain. There is a fine line between using this critical energy creatively and pandering to it.
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