Learning to See

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Re: Learning to See

Post by Macrology » Mon Apr 20, 2020 12:33 am

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Henri Cartier-Bresson. Behind Saint-Lazare Train Station. 1932.

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[Click image for full size]

TIME's 100 Photos

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Re: Learning to See

Post by Macrology » Mon Apr 20, 2020 9:06 pm

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Henri Cartier-Bresson. Beijin. China. From Photo-Essay The Great Leap Forward. October 1958.

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"At the celebrations of the People’s Republic’s ninth anniversary, first came the military display, followed by civilians. Athletes concluded the parade. As these young girls danced by, doves were released into the sky, but one stubborn bird refused to fly away."

An article on Cartier-Bresson

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Re: Learning to See

Post by Macrology » Tue Apr 21, 2020 9:12 pm

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Henri Cartier-Bresson. Beijing. December 1948.

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A thoughtful analysis of some of Cartier-Bresson's photographs

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Re: Learning to See

Post by Macrology » Wed Apr 22, 2020 6:24 pm

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Henri Cartier-Bresson. Belgium. Brussels. 1932.

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The Decisive Moment, a short documentary with comments from Cartier-Bresson.

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Re: Learning to See

Post by Macrology » Thu Apr 23, 2020 10:40 pm

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Henri Cartier-Bresson. Calle Cuauhtemocztin. Mexico City. 1935.

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On the Decisive Moment, from the horse's mouth.

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Re: Learning to See

Post by Macrology » Fri Apr 24, 2020 11:50 pm

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Henri Cartier-Bresson. China. Beijing. A eunuch of the Imperial court of the last dynasty. December 1948.

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Max Vadukul wrote:Photo-graphers have been robbed of their secrets. When you shoot on film you walk out with a secret; when you shoot on digital, 20 people can see it immediately. You would not have had Helmut Newton or Richard Avedon if everyone had been there gawking.
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Re: Learning to See

Post by Macrology » Sun Apr 26, 2020 12:38 am

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Henri Cartier-Bresson. China. From Photo-Essay The Great Leap Forward. 1958.

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More of Cartier-Bresson's photographs documenting the Great Leap Forward

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Re: Learning to See

Post by Macrology » Mon Apr 27, 2020 1:38 am

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Henri Cartier-Bresson. Coney Island. 1946.

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Henri Cartier-Bresson wrote:For me the camera is a sketch book, an instrument of intuition and spontaneity, the master of the instant which, in visual terms, questions and decides simultaneously. It is by economy of means that one arrives at simplicity of expression.
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Re: Learning to See

Post by Macrology » Mon Apr 27, 2020 9:21 pm

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Henri Cartier-Bresson. Coney Island. New York. 1946.

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I'm rereading Barthes's Camera Lucida for the first time since my freshman year of college, so I may accompany some of these Cartier-Bresson photos with quotations that catch my attention.

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Re: Learning to See

Post by Macrology » Wed Apr 29, 2020 9:13 pm

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Henri Cartier-Bresson. Cyclades. Island of Siphnos. Greece. 1961.

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The Photograph belongs to that class of laminated objects whose two leaves cannot be separated without destroying them both: the windowpane and the landscape, and why not: Good and Evil, desire and its object: dualities we can conceive but not perceive [. . .] a photograph is always invisible: it is not it that we see.
Barthes, Camera Lucida
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Re: Learning to See

Post by Macrology » Fri May 01, 2020 2:42 am

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Henri Cartier-Bresson. France. 1926.

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Re: Learning to See

Post by Popcorn Reviews » Fri May 01, 2020 2:54 am

Nice
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Re: Learning to See

Post by Macrology » Fri May 01, 2020 7:16 pm

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Henri Cartier-Bresson. France. Alpes-Maritimes. Vence. French painter Henri Matisse at his home, villa Le Rêve. February 1944.

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Re: Learning to See

Post by Macrology » Sat May 02, 2020 8:53 pm

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Henri Cartier-Bresson. France. WWII Liberation. A Bridge over the Rhine Near Strasbourg. 1944.

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Re: Learning to See

Post by Macrology » Sun May 03, 2020 11:29 pm

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Henri Cartier-Bresson. Grand Lahou. Abidjan. Ivory Coast. 1930-31.

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Re: Learning to See

Post by Macrology » Tue May 05, 2020 4:50 am

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Henri Cartier-Bresson. India. Punjab. Kurukshetra. A refugee camp for 300.000 people. Refugees exercising in the camp to drive away lethargy and despair. Autumn 1947.

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Re: Learning to See

Post by Macrology » Wed May 06, 2020 3:17 am

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Henri Cartier-Bresson. India. Tamil Nadu. Madura. 1950.

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"Ultimately - or at the limit - in order to see a photograph well, it is best to look away or close your eyes. 'The necessary condition for an image is sight,' Janouch told Kafka; and Kafka smiled and replied: 'We photograph things in order to drive them out of our minds. My stories are a way of shutting my eyes.'"
Barthes, Camera Lucida

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Re: Learning to See

Post by MrCarmady » Wed May 06, 2020 10:19 am

Macrology wrote:
Wed May 06, 2020 3:17 am

"Ultimately - or at the limit - in order to see a photograph well, it is best to look away or close your eyes. 'The necessary condition for an image is sight,' Janouch told Kafka; and Kafka smiled and replied: 'We photograph things in order to drive them out of our minds. My stories are a way of shutting my eyes.'"
Barthes, Camera Lucida
That quote aged like fine wine, huh.
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Re: Learning to See

Post by Macrology » Thu May 07, 2020 1:12 am

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Henri Cartier-Bresson. Italy. 1933.

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"Pornography ordinarily represents the sexual organs, making them into a motionless object (a fetish), flattered like an idol that does not leave its niche; for me, there is no punctum in the pornographic image; at most it amuses me (and even then, boredom quickly follows). The erotic photograph, on the contrary (and this is its very condition), does not make the sexual organs into a central object; it may very well not show them at all; it takes the spectator outside of its frame, and it is there that I animate this photograph and that it animates me."
Barthes, Camera Lucida

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Re: Learning to See

Post by Macrology » Fri May 08, 2020 2:55 am

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Henri Cartier-Bresson. Italy. French writer, Andre Pieyre de Mandiargues. 1933.

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Re: Learning to See

Post by Macrology » Sat May 09, 2020 12:58 am

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Henri Cartier-Bresson. Italy. Friouli. Trieste. 1933.

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Re: Learning to See

Post by Macrology » Sun May 10, 2020 4:53 am

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Henri Cartier-Bresson. Jakarta. Indonesia. 1949.

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Re: Learning to See

Post by Macrology » Mon May 11, 2020 8:59 pm

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Henri Cartier-Bresson. Juvisy. France. Sunday on the banks of the River Marne. 1938.

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Re: Learning to See

Post by Macrology » Wed May 13, 2020 1:43 am

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Henri Cartier-Bresson. London. Coronation of George VI. May 1937.

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Henri Cartier-Bresson wrote:People had waited all night in Trafalgar Square in order not to miss any part of the coronation ceremony of George VI. Some slept on benches and others on newspapers. The next morning, one who was wearier than the others, had not yet wakened to see the ceremony for which he had kept such a late vigil.
The Guardian on the photograph

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Re: Learning to See

Post by Macrology » Thu May 14, 2020 12:29 am

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Henri Cartier-Bresson. Louisiana. 1947.

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"The photograph is literally an emanation of the referent. From a real body, which was there, proceed radiations which ultimately touch me, who am here; the duration of the transmission is insignificant; the photograph of the missing being, as Sontag says, will touch me like the delayed rays of a star. A sort of umbilical cord links the body of the photographed thing to my gaze: light, though impalpable, is here a carnal medium, a skin I share with anyone who has been photographed."
Barthes, Camera Lucida

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Re: Learning to See

Post by Macrology » Mon May 18, 2020 2:09 am

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Henri Cartier-Bresson. Madrid. 1933.

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[Click image for full size]

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Re: Learning to See

Post by Stu » Mon May 18, 2020 6:45 am

Wonderful.
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Re: Learning to See

Post by Macrology » Tue May 19, 2020 4:03 am

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Henri Cartier-Bresson. Massachusetts. Cape Cod. July 4th, 1947. Independence Day.

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Henri Cartier-Bresson wrote:This woman explained to me that the flagpole over her door was broken but 'on such a day as this, one keeps one's flag on one's heart.' I felt in her a touch of the strength and robustness of the early American pioneers.
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Re: Learning to See

Post by Macrology » Wed May 20, 2020 3:00 am

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Henri Cartier-Bresson. McCann-Erickson Advertising Agency. Madison Avenue. New York. 1959.

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Re: Learning to See

Post by Macrology » Thu May 21, 2020 4:14 am

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Henri Cartier-Bresson. Mexico City. 1934.

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"It is a mistake to associate Photography, by reason of its technical origins, with the notion of a dark passage (camera obscura). It is camera lucida that we should say (such was the name of that apparatus, anterior to Photography, which permitted drawing an object through a prism, one eye on the model, the other on the paper); for, from the eye's viewpoint, 'the essence of the image is to be altogether outside, without intimacy, and yet more inaccessible and mysterious than the thought of the inner-most being; without signification, yet summoning up the depth of any possible meaning; unrevealed yet manifest, having that absence-as-presence which constitutes the lure and the fascination of the Sirens' (Blanchot)."
Barthes, Camera Lucida

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Re: Learning to See

Post by Macrology » Fri May 22, 2020 3:19 am

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Henri Cartier-Bresson. Mexico. Popocatepetl volcano. 1963.

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Re: Learning to See

Post by Ergill » Fri May 22, 2020 3:31 am

Macrology wrote:
Thu May 21, 2020 4:14 am
"It is a mistake to associate Photography, by reason of its technical origins, with the notion of a dark passage (camera obscura). It is camera lucida that we should say (such was the name of that apparatus, anterior to Photography, which permitted drawing an object through a prism, one eye on the model, the other on the paper); for, from the eye's viewpoint, 'the essence of the image is to be altogether outside, without intimacy, and yet more inaccessible and mysterious than the thought of the inner-most being; without signification, yet summoning up the depth of any possible meaning; unrevealed yet manifest, having that absence-as-presence which constitutes the lure and the fascination of the Sirens' (Blanchot)."
Barthes, Camera Lucida
I got lost in the attributions so I just looked at the picture. I've read all the Blanchot I'll ever read and I'll get around to the Barthes one day [eyes bookshelf].
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Re: Learning to See

Post by Macrology » Sun May 24, 2020 2:01 am

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Henri Cartier-Bresson. Mother and son, separated by the war, are reunited in New York. 1946.

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"In the love stirred by Photography (by certain photographs), another music is heard, its name oddly old-fashioned: Pity. I collected in a last thought the images which have "pricked" me [. . .] In each of them, inescapably, I passed beyond the unreality of the thing represented, I entered crazily into the spectacle, into the image, taking into my arms what is dead, what is going to die, as Nietzsche did when, as Podach tells us, on January 3, 1889, he threw himself in tears on the neck of a beaten horse: gone mad for Pity's sake."
Barthes, Camera Lucida

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Re: Learning to See

Post by Macrology » Mon May 25, 2020 1:44 am

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Henri Cartier-Bresson. Naples. Italy. 1960.

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"A photograph is not created by a photographer. What they does is just to open a little window and capture it. The world then writes itself on the film. The act of the photographer is closer to reading than it is to writing. They are the readers of the world."
Ferdinando Scianna

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Re: Learning to See

Post by Macrology » Mon May 25, 2020 10:25 pm

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Henri Cartier-Bresson. Natchez. Mississippi. 1947.

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Re: Learning to See

Post by Macrology » Thu May 28, 2020 8:20 pm

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Henri Cartier-Bresson. Natcho Aguirre. Santa Clara. Mexico. 1934.

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