Word: cartier
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...seize the moment. Last week, Manhattan's Museum of Modern Art put on a show of pictures?each made in a wink?which brought back moments from the past decade more vividly than memory can. They were candid camera shots snapped by France's most distinguished documentary photographer, Henri Cartier-Bresson. Unlike artier cameramen, Cartier-Bresson has never felt the need of a studio or a darkroom. He still reloads his Leica under the bed, washes his prints in the bathtub. 'Shooting a picture,' says he, 'is like shooting rabbit or partridge. Before shooting you think, you contemplate, you look...
...Cartier-Bresson's Legacy Thanks to James Nachtwey for his Appreciation of fellow photographer Henri Cartier-Bresson [Aug. 16]. Nachtwey's descriptions of Cartier-Bresson's artful shots made me aware of all the details that a single photo, like the one of Spanish children playing on a street, can encompass. About a year ago, I started looking at photographs late at night before going to sleep, because I wanted to learn about photography and absorb the information that can be uniquely documented in a picture. This way of learning by contemplating photographs, just as Nachtwey did with Cartier-Bresson...
...Seizing The Moment As we noted in the Appreciation of Henri Cartier-Bresson [Aug. 16], he "waited for the decisive moment?and captured it." TIME first reported on the celebrated French photographer when an exhibition of his work opened in New York City almost 60 years...
...owner Julien Levy hung the black-and-white images of three unsung photographers on his walls, and all three went on to make huge contributions to the 20th century's image bank. The exhibition, entitled Documentary and Anti-graphic Photographs, showcased the early work of Manuel Alvarez Bravo, Henri Cartier-Bresson and Walker Evans. This week, just a month after the death of Cartier-Bresson, the longest-surviving member of the trio, the first-ever recreation of Levy's exhibition opens at the Fondation Henri Cartier-Bresson in Paris...
...with the ray of sunlight brushing her shoulder as if singling her out. And Alvarez Bravo even managed to instill life into still life: in Laughing Mannequins, glamorous cardboard women appear smiling, while it's the real people in the image that lack life. The same is true in Cartier-Bresson's Barrio Chino, in which a smiling face chalked on the wall eclipses a spent man below. Before he died, Cartier-Bresson had a final look at his images for the exhibit, taking in his surrealism-influenced shots of Mexico and unselfconscious images of Europe, such as the ambiguous...