Henri Cartier-Bresson: Idézetek angolul
Forrás: Henri Cartier-Bresson: The Modern Century
The Decisive Moment (1952), p. i; also in The Mind's Eye (1999)
Kontextus: The picture-story involves a joint operation of the brain, the eye and the heart. The objective of this joint operation is to depict the content of some event which is in the process of unfolding, and to communicate impressions. Sometimes a single event can be so rich in itself and its facets that it is necessary to move all around it in your search for the solution to the problems it poses — for the world is movement, and you cannot be stationary in your attitude toward something that is moving. Sometimes you light upon the picture in seconds; it might also require hours or days. But there is no standard plan, no pattern from which to work.
Forrás: Henri Cartier-Bresson: Interviews and Conversations, 1951-1998, Only Geometricians May Enter: Interview with Yves Bourde (1974), p. 62
“The picture-story involves a joint operation of the brain, the eye and the heart.”
The Decisive Moment (1952), p. i; also in The Mind's Eye (1999)
Kontextus: The picture-story involves a joint operation of the brain, the eye and the heart. The objective of this joint operation is to depict the content of some event which is in the process of unfolding, and to communicate impressions. Sometimes a single event can be so rich in itself and its facets that it is necessary to move all around it in your search for the solution to the problems it poses — for the world is movement, and you cannot be stationary in your attitude toward something that is moving. Sometimes you light upon the picture in seconds; it might also require hours or days. But there is no standard plan, no pattern from which to work.
Forrás: Henri Cartier-Bresson: The Mind's Eye: Writings on Photography and Photographers
Forrás: Henri Cartier-Bresson: Interviews and Conversations, 1951-1998, Photographing Is Nothing, Looking Is Everything! Interview with Philippe Boegner (1989), p. 115
Forrás: Henri Cartier-Bresson: Interviews and Conversations, 1951-1998, Conversation. Interview with Byron Dobell (1957), p. 38
Forrás: Henri Cartier-Bresson: Interviews and Conversations, 1951-1998, To Seize Life: Interview with Yvonne Baby (1961), p. 44
Forrás: Henri Cartier-Bresson: Interviews and Conversations, 1951-1998, Photographing Is Nothing, Looking Is Everything! Interview with Philippe Boegner (1989), p. 114
Forrás: Henri Cartier-Bresson: Interviews and Conversations, 1951-1998, The Main Thing Is Looking: Interview with Alain Desvergnes (1979), p. 75
Forrás: Henri Cartier-Bresson: Interviews and Conversations, 1951-1998, The Main Thing Is Looking: Interview with Alain Desvergnes (1979), p. 70
Forrás: Henri Cartier-Bresson: Interviews and Conversations, 1951-1998, Conversation. Interview with Byron Dobell (1957), p. 32
Forrás: Henri Cartier-Bresson: Interviews and Conversations, 1951-1998, We Always Talk Too Much: Conversation with Pierre Assouline (1994), p. 132
“I am a visual man. I watch, watch, watch. I understand things through my eyes.”
"An island of pleasure gond adrift" in LIFE magazine (15 March 1963), p. 42
Forrás: Henri Cartier-Bresson: Interviews and Conversations, 1951-1998, Photographing Is Nothing, Looking Is Everything! Interview with Philippe Boegner (1989), p. 113
Forrás: Henri Cartier-Bresson: Interviews and Conversations, 1951-1998, To Seize Life: Interview with Yvonne Baby (1961), p. 45
Forrás: Henri Cartier-Bresson: Interviews and Conversations, 1951-1998, Conversation. Interview with Byron Dobell (1957), pp. 34-35
Forrás: Henri Cartier-Bresson: Interviews and Conversations, 1951-1998, An Endless Play: Interview with Gilles Mora (1986), p. 102
Forrás: Henri Cartier-Bresson: Interviews and Conversations, 1951-1998, To Seize Life: Interview with Yvonne Baby (1961), p. 45
Forrás: Henri Cartier-Bresson: Interviews and Conversations, 1951-1998, Conversation. Interview with Byron Dobell (1957), p. 36