This book makes me ask; "why was Henri there? Did he stand in that street all day for that image? Did he go there every day for a week when the light was good, waiting for something or someone interesting to cross his path? In the Gelderland photo...who are those 2 people and why was he there with them? Are they arguing? Are they strangers just passing...and how did he see that image coming? My point is this; the photos are the result of a moment/places that he found and captured. His compositions are elegant and sophisticated to be sure, i think his brilliance was in his hunting. how did he do that? What was he thinking? How did he know to be there over and over(wherever 'there' was..)? Films were slow then, cameras were clunky, you had to anticipate and see a shot before it was there and yet so many of his images have a spontaneity to them. Remarkable. Can you imagine what it would have been like to stand there next to him on a sidewalk in Italy and have him give a running commentary as a scene evolves?! Or this, imagine Henri taking you along on a street shooting session and making a youtube like the thousands we have today. For me the mystery isn't cameras or film or tech...it's what happens behind the eyes right before the shutter clicks.
I really love when you go in depth about a photographer, most channels today only know how to talk about technique, and forget the whole philosophy behind the work. It's great to see someone discussing this side of photography.
I come from the era of film where shooting was bounded in 1, 12, or 36 exposures. You had to stand and watch and try to anticipate the moment. Often, one click was all you would get of the magic . Film, developing, and printing was expensive. I worked in BW because I could afford to do that myself. Shooting Kodachrome or color prints for anything but a special event, wedding, etc. was beyond my means. I could not have imagined a 30 fps camera, 1000's of exposures, and hoping that one picture would accidentally have the magic and justify the entire day. For todays shooters only the large format shooters approach the way we had to work.
I agree. The obvious benefits of digital photography can't make up for the loss of the sheer anticipation of seeing your film printed. However.... I did recently put some Ilford HP5 through a 35mm camera. I found it very frustrating to be honest (and expensive). What really surprised me was how far Digital cameras have come in terms of sheer quality of output. I won't be going back to film, and my nostalgic trip back to 35mm reinforced that feeling. What I have done though is to buy a Fuji X100V. I turn off the electronic viewfinder and image review. I try to shoot without looking at my results until I get home. It gives me some of that 35mm film anticipation PLUS amazing quality results (when I get it right). Because I don't "chimp" the images, it forces me to take more care over each shot. For even more "fun" I will limit myself to 24 shots in a day, with no deletions. Just 24 contiguous shots, mostly bad, a few good. Just like how it was.
One thing that made Bresson’s photos beautiful and enjoyable was the subject material. He photographed in a time where today we find the photos more interesting because the subjects are unique and do not exist in our current time. I suppose you could try to replicate the photos but the subjects of back then were just far more interesting than todays subjects with their dress code and architecture being so different. Old Military war photos are also far more interesting than todays war photography because the subjects in old war photos are far more interesting as we do not see the uniforms or artillery anymore. Perhaps in another 30-50 years the future may appreciate our photos more as the world again will be different.
Thank you very much for this video about Cartier-Bresson. What you say about his mastery of perspective is true and very important. As he was also a draftsman and familiar with the painters of the early 20th century, he composed the images in a way that sometimes evoked the pictorial avant-garde of that time, which is unique among photographers. I don't know if he would have been as talented in color because stylizing in color implies thinking in color, as we see with Steve McCurry, Saul Leiter or Harry Gruyaert, the great Belgian photographer. As a French photographer, I grew up in the culture of what is called French humanist photography, and I think that if you like Cartier-Bresson and want to know more about this photographic tradition, it is interesting to know the works of Willy Ronis (1910-2009), Marc Riboud (1923-2016), and of course Robert Doisneau (1912-1994) who is probably the best known of these three photographers.
Excellent points about perspective, composition, light, black-and-white versus color and "the human condition" -but in the case of HC-B, there's his genius for capturing "the decisive moment."
Oh yes, Cartier-Bresson! Not without reasons one of the best photographers of the 20th century. About lesson four: Whether Cartier-Bresson's pictures or those of Willy Ronis, Robert Doisneau or August Sander, we only know them in B&W and I think, it doesn't need more to understand the stories they tell us. To know how it could look like in gorgeous colors, I could recommend a look on to Steve Mc Curry. Your example of change a color image into a B&W is good to see how much B&W lives from the structure and the contrast. Especially in landscape photography. If you want to shoot B&W you have to think B&W. Mary christmas! TE
Thank you so much for watching and yes I agree we don’t need to see the colour in them but we can definitely learn with their books to observe in black and white as well as the skills needed to photograph in black and white. :)
Thanks for highlighting the book. This is a nice introduction to his masterful work. I'm glad you chose to concentrate on his work from an artistic instead of technical viewpoint. Regarding B&W, I doubt more the 5% of the rolls I've run through my Leica M3 have been color, though I've run lots of color film through my SLRs. Whenever I photographed with the M3, I thought in black and white. Now I use Fuji cameras with their wonderful film simulations. I use whatever film simulation fits the scene, be it soft or vivid color or B&W. Almost all my street work is in B&W, usually manual focus with vintage film lenses. I've been at it for more than 60 years and I'm having as much fun as ever!
I don't know about anyone else .....but my life changed forever one fine day when I walked into an exhibition of Cartier Bresson at the NGMA in Mumbai in July 2008 and one image by the master changed my LIFE FOREVER and walked out with Photography in My Life....always & forever grateful to my Guru and teacher HCB.
@@javiervidal366 It was probably the most LIFE-ALTERING EXPERIENCE I have had the same way when you Step onto & look up at New York City for the first time or Look at the Taj mahal .....but to me, that day with Cartier Bresson and that one image was far more for its a moment that altered the course of my life forever and impacts it every single day 24/7 to this day as a divine blessing from the Universe.
@@Pyrahna241 actually, I wouldn't call it street, it was a whole genre, the humanist photography (if I translate it right)...if we would expand the scope, I'd say Edward Curtis is the GOAT. He dedicated his life, his wealth to document the natives before their culture would disappear...🙂
Cartier-Bresson, one of the all time greats. His philosophy is genius. I have learned as much about my own life through his philosophy as I have about photography. Not sure if there has been a photographer who has had such an impact on me nor of there will be. There are others who are also highly influential, but, Cartier-Bresson just had an eloquent, positive, childlike innocence outlook to his photography.
Completely agree Chris! I think you comment does have a good point specially when you mention his childlike innocence outlook to photography he definitely saw value in everything and never took anything for granted. Cheers for watching Chris! Happy holidays
I think I read that he used a small, Leica rangefinder that he kept hidden in a pocket until he was ready to shoot and he was very quick taking the shot and then hid the camera and walked away. He was like a spy with a camera.
Thank you for that. I think converting colour to b&w has only limited potential, because the images you look to capture in the first place will be quite different, depending on whether you seek a colour or b&w photo. For me personally, b&w works better unless the subject or theme of the photo is colour itself.
Do take a look at 'House of Love' by Dayanita Singh if you will. She is not nearly as famous as Cartier-Bresson, clearly, but it'd be interesting to feature a female photographer (I believe she won the Hasselblad award this or last year) who has been extremely important in the photography of the subcontinent. Cheers!
On the subject of color versus black and white, my own feeling is this: If the depth of the scene is provided by color, you need color. If depth is provided by shapes and lines, black and white may be better. And that's leaving aside the fact that I'm also too lazy to do my own color development. :)
Wonderful video, thank you! Ever since learning about dynamic symmetry and Cartier-Bresson’s use of it, I’ve been noticing it more and more in his images. Saw a few here I’d never seen before even and many of them also had it. It’s definitely inspired me to try and use it in my own work, but it’s a lot harder to use than the rule of thirds! I’d love to see a video where you get into great users of other composition techniques, and how to apply them yourself like hcb.
Thank you so much for your feedback I appreciate it! I read your comment and reminded me of two videos I made a while ago that you might enjoy it’s on the subject of composition: ruclips.net/video/cHcrRD2YI4w/видео.html & ruclips.net/video/Y4d_EW7EQT4/видео.html
Excellent - thank you. The book 'Henri Cartier-Bresson Paris Revisited' is very good on his early years as a photographer. Your important point about perspective and how to achieve depth is well illustrated in Paris Revisited. Also good on french history. Thanks again
colour - when color came up he was asked why he still goes B&W. He said that color is much more difficult - he did study that a lot, and was aware on painting and which color you may use for the background etc pp - in his later days he was painting - you may google eg 'Henri Cartier-Bresson "A.S. Blouse Orange, 1984"' just as example.... for me it seems to be much more difficult to get a real good B&W, only converting color to B&W doesn't make the job .... cheers axel
Might I recommend Ed van der Elsken , in particular his book “Lust for life”. He is my favorite street photographer after Bresson and Fan Ho . He really captured the human condition and showed people not just subjects. Hopes this helps in your quest for more photobooks 😊
Thought provoking as usual and great soundtrack…….speaking of which I’ve really been enjoying Patti Smiths book of days…..photojournal as didactic therapy perhaps….you may find it interesting…….thanks for all your hard work this year and Merry Christmas!
Thank you so much Tylar, I’ll look it up I have made a video about her photography and I had a book by her on that video but I don’t think it’s the same you mentioned, happy holidays! 💫
She was so brave. The things that she would do to get a great shot. She seemed to only do those farting shots; because there no other way to get that epic shot. I liked her story of how she got that picture of Stalin. From the humble beginnings; her father was a printer. To the original staff at Life Magazine. I find Margret Bourke White amazingly amazing.
Darnitdarnit!! Spell correct. I wrote darring shots. Not farting shots. Dam robot. I'd like slip that spell correct robot a can of degreaser. Make it go run for a oil change!
He is a master, thanks for making the video. I agree in trying to experiment with both color and bw. There’s no magic formula as to how one approaches each. Also I am worried your apartment is too cold.
Thank you so much for watching! Appreciate your comment and no my house is not too cold if your comment is because I’m wearing a hat inside I just like to wear it, thank you for caring :)
fantastic subject and video :-) I recently asked a fellow photographer friend that if he had to pick a single image to explain the concept of photography to an invading space alien, what would that picture be? of course, I had to think myself, and it would have to be an HCB image (the decisive moment and the freezing of it, is after all what photography is about)
Great video. I think that Cartier Bresson did do some color work when required by the magazine's he worked for but on his own he took some color shots but destroyed them. Henri was at a party with Wm Eggleston and Henri said that color was bulls... at which point Eggleston got up and left. Henri was deeply into painting and when I look at many of his shots I see a cubist or surrealist or a Cezanne painting first into which Henri has populated with figures. Also I don't believe in his Decisive Moment. A single shot can be very inconsistent with what went on moments before and after it. Henri is a landmark photog and his work very seductive but I'm not his biggest fan.
I always wonder what photographers like Henry Cartier-Bresson, Saul Leiter, Fred Herzog etc. would photograph today and if we would also like their work so much if they were contemporary photographers. Do we really love their photos (only) because of their artistic value as such or (most of all) because they show us a world that does not exist anymore?
That’s a really good question and to be honest with you one that got me thinking, I definitely think they’re photos also sustain some power because of the the subject matter and of course where and when they were taken counts a whole lot and I do think they benefited from the design / look / colours of certain decades and spaces.
@@TatianaHopper Just to give you one example: in my opinion Alex Webb's more recent photos taken in cities like NY or Chicago have little or nothing to do with his photos taken in more exotic places like Haiti or Mexico (like the ones included in The Suffering of Light). The location and the decade make a huge difference and maybe I wouldn't admire him that much if I only knew his more recent photos (which to me are not that special).
I agree Bresson is a good photographer. But he is timeless because he is really it or we chose he is. Because on my opinion there's other photographers much more timeless than him.
A good practice when shooting in B&W is shoot the B&W images in jpeg. This way, if using a mirrorless camera, you can see the image in B&W before pressing the shutter. If your body has this feature, shoot jpeg and raw. This way you have a color negative. The best of both worlds. Thank you for your videos and season greetings. Mask On Nurse Marty
Marty, I use Fuji cameras and shoot jpeg and raw, though the raw files are almost always "safety negatives". The further adjustments within the B&W film sims allow me to fine tune the look with immediate feedback on the LCD. If you shoot Fuji, you can further influence the look of B&W images by changing the white balance settings. Try some adjustments using Kelvin WB, especially toward the low and high ends of the range.
@@dougmacmillan1712 I'm interested in getting a Fuji for the stimulations and also the colors in some of the earlier x-trans sensors. Which cameras do you use for B&W? Thinking of getting the x-h1 as my first mirrorless system.
@@javiervidal366, that would be a good choice. I have the H1, as well as the X-E1, X-E2s and X-E3. The H1 and E3 have the Acros simulation, which is a great B&W look. The E1 and E2s have standard B&W. They don't look quite as good as Acros at standard settings, but you can adjust the settings and come up with some really nice B&W images. I shoot B&W with all four cameras. If you go H1, I recommend getting one with the battery grip if possible. It makes the camera more bulky (but is easily removed if desired) because the H1 ungripped battery life is not long. The grip is pretty much needed for shooting video IMO. Cheers!
@@dougmacmillan1712 perfect, thank you. Can't wait to get into the Fuji line. Was going to go with x-t2 at first, then I read all the reviews on the x-e1 and e2. I'd like to go for the earlier x-trans sensor lines; so the e2 or the h1.
Great video. Personally I am not a fan of zooming/panning on existing still images, like you sometimes do here though. The image was created by the author with his/her own cropping in mind. When you zoom in and out (or panning) in a video like this, you are changing the perception of the original image and the thought the photographer had to begin with. Just my personally opinion of course ;)
When showing photos of such artists you really should always keep them still and DO NOT move the "camera" in your editing software to try to create interest. These works are intended to be viewed as still images for a reason and it is also much more difficult to pick up on the subtleties of composition when the you change what is in shot. If you want to make a more interesting and dynamic video, punch up the writing and editing. Let the photos be what they are - stills.
Cartier-Bresson - at least occasionally - must have walked around taking photographs just for the fun of it, and, surely, not all of his photographs were masterpieces. What's become of those other Cartier-Bresson photos, the non-masterpieces?
I think Bresson is similar to Picasso, he became so famous that everything he made even a simple drawing on a napkin was highly praised. Personally I feel Bresson falls under the same category, even though some of his works might not be as strong they’re still revered by galleries and valued in a lot of money. I don’t know that’s my thoughts though …
@@TatianaHopper , Cartier-Bresson must have taken thousands and thousands of photos in his lifetime. MY guess is that the editors of his photography books simply had thousands and thousands of photos to choose from. :-)
Sorry but the question you are trying to answer "how would it work in colour", is pretty wrong. When you shoot in b/w you just think differently. It is required a different approch to the image, where lights, textures, shapes gives the dimensions. If you put colour in it, it will not work. Simply. Same with getting rid of colours to have a b/w image. It's simply a wrong exercise, if you didn't think the image in b/w in camera. Ciao
I think what she tried to say is maybe just think about how colour can change an image and what we can learn if we look at images with and without colour, that’s how I understood it at least as she did mention it’s a different experience and set of skills shooting with B&W 🤷♂️
MPB ist just to expensive and a rip off, especially for folks that sell used stuff. Be aware and look closely at images of things they sell. If a view finder or eye cup is missing or there is a dent - you get your product exactly that way.
Great video tutorial but close to useless given today's law in France and othe countries about privacy and copyright. Photographers will be strangled soon and no one can be a new HCB in near future.
T, I still haven't figured out how to enter the comp but I follow you here and on Insta and get so much from that. So let someone else have the giveaway :) As for B&W, I found that, like you suggested, converting some of my colour images to B&W gave me an idea of what might work in future images. I now try to see in B&W. Something to note is that many mirrorless cameras will let you compose a shot in B&W so you can get an idea what it might look like. Finally, sometimes colour can be a distraction. Anyway, terrific video as always. Merry Christmas.
This book makes me ask; "why was Henri there? Did he stand in that street all day for that image? Did he go there every day for a week when the light was good, waiting for something or someone interesting to cross his path? In the Gelderland photo...who are those 2 people and why was he there with them? Are they arguing? Are they strangers just passing...and how did he see that image coming? My point is this; the photos are the result of a moment/places that he found and captured. His compositions are elegant and sophisticated to be sure, i think his brilliance was in his hunting. how did he do that? What was he thinking? How did he know to be there over and over(wherever 'there' was..)? Films were slow then, cameras were clunky, you had to anticipate and see a shot before it was there and yet so many of his images have a spontaneity to them. Remarkable. Can you imagine what it would have been like to stand there next to him on a sidewalk in Italy and have him give a running commentary as a scene evolves?! Or this, imagine Henri taking you along on a street shooting session and making a youtube like the thousands we have today.
For me the mystery isn't cameras or film or tech...it's what happens behind the eyes right before the shutter clicks.
I really love when you go in depth about a photographer, most channels today only know how to talk about technique, and forget the whole philosophy behind the work.
It's great to see someone discussing this side of photography.
Thank you so much Breno appreciate your words and kindness 🙏🏻
I come from the era of film where shooting was bounded in 1, 12, or 36 exposures. You had to stand and watch and try to anticipate the moment. Often, one click was all you would get of the magic . Film, developing, and printing was expensive. I worked in BW because I could afford to do that myself. Shooting Kodachrome or color prints for anything but a special event, wedding, etc. was beyond my means. I could not have imagined a 30 fps camera, 1000's of exposures, and hoping that one picture would accidentally have the magic and justify the entire day. For todays shooters only the large format shooters approach the way we had to work.
I agree. The obvious benefits of digital photography can't make up for the loss of the sheer anticipation of seeing your film printed.
However.... I did recently put some Ilford HP5 through a 35mm camera. I found it very frustrating to be honest (and expensive). What really surprised me was how far Digital cameras have come in terms of sheer quality of output.
I won't be going back to film, and my nostalgic trip back to 35mm reinforced that feeling. What I have done though is to buy a Fuji X100V. I turn off the electronic viewfinder and image review. I try to shoot without looking at my results until I get home.
It gives me some of that 35mm film anticipation PLUS amazing quality results (when I get it right). Because I don't "chimp" the images, it forces me to take more care over each shot.
For even more "fun" I will limit myself to 24 shots in a day, with no deletions. Just 24 contiguous shots, mostly bad, a few good. Just like how it was.
Stop shooting people and take photos 😂
When a photography video starts with Jackson C. Frank, you know it's gonna be good
for real
You said it brother!
@@TatianaHopper ❤️
@@TatianaHopper I wonder, how did you come across his music?
@@reiniervannek I listen to a whole lot of music and over the years I built my own library with all sorts :)
One thing that made Bresson’s photos beautiful and enjoyable was the subject material. He photographed in a time where today we find the photos more interesting because the subjects are unique and do not exist in our current time. I suppose you could try to replicate the photos but the subjects of back then were just far more interesting than todays subjects with their dress code and architecture being so different. Old Military war photos are also far more interesting than todays war photography because the subjects in old war photos are far more interesting as we do not see the uniforms or artillery anymore. Perhaps in another 30-50 years the future may appreciate our photos more as the world again will be different.
Thank you very much for this video about Cartier-Bresson. What you say about his mastery of perspective is true and very important. As he was also a draftsman and familiar with the painters of the early 20th century, he composed the images in a way that sometimes evoked the pictorial avant-garde of that time, which is unique among photographers.
I don't know if he would have been as talented in color because stylizing in color implies thinking in color, as we see with Steve McCurry, Saul Leiter or Harry Gruyaert, the great Belgian photographer.
As a French photographer, I grew up in the culture of what is called French humanist photography, and I think that if you like Cartier-Bresson and want to know more about this photographic tradition, it is interesting to know the works of Willy Ronis (1910-2009), Marc Riboud (1923-2016), and of course Robert Doisneau (1912-1994) who is probably the best known of these three photographers.
Excellent points about perspective, composition, light, black-and-white versus color and "the human condition" -but in the case of HC-B, there's his genius for capturing "the decisive moment."
Oh yes, Cartier-Bresson! Not without reasons one of the best photographers of the 20th century.
About lesson four:
Whether Cartier-Bresson's pictures or those of Willy Ronis, Robert Doisneau or August Sander, we only know them in B&W and I think, it doesn't need more to understand the stories they tell us.
To know how it could look like in gorgeous colors, I could recommend a look on to Steve Mc Curry.
Your example of change a color image into a B&W is good to see how much B&W lives from the structure and the contrast. Especially in landscape photography. If you want to shoot B&W you have to think B&W.
Mary christmas! TE
Thank you so much for watching and yes I agree we don’t need to see the colour in them but we can definitely learn with their books to observe in black and white as well as the skills needed to photograph in black and white. :)
Cartier-Bresson 是使我最受感动的伟大的现实主义照相家。
特别是作品的构图，有着绘画的韵味，能给人们留下难忘的回音。
Thanks for highlighting the book. This is a nice introduction to his masterful work. I'm glad you chose to concentrate on his work from an artistic instead of technical viewpoint.
Regarding B&W, I doubt more the 5% of the rolls I've run through my Leica M3 have been color, though I've run lots of color film through my SLRs. Whenever I photographed with the M3, I thought in black and white. Now I use Fuji cameras with their wonderful film simulations. I use whatever film simulation fits the scene, be it soft or vivid color or B&W. Almost all my street work is in B&W, usually manual focus with vintage film lenses. I've been at it for more than 60 years and I'm having as much fun as ever!
I don't know about anyone else .....but my life changed forever one fine day when I walked into an exhibition of Cartier Bresson at the NGMA in Mumbai in July 2008 and one image by the master changed my LIFE FOREVER and walked out with Photography in My Life....always & forever grateful to my Guru and teacher HCB.
Curious, which photo and can it be found on the internet?
@@javiervidal366 Well its a story best heard from me for its specail & yes so is the Image :)))
@@rajsingharora26 it's great when you come across a life altering experience.
@@javiervidal366 It was probably the most LIFE-ALTERING EXPERIENCE I have had the same way when you Step onto & look up at New York City for the first time or Look at the Taj mahal .....but to me, that day with Cartier Bresson and that one image was far more for its a moment that altered the course of my life forever and impacts it every single day 24/7 to this day as a divine blessing from the Universe.
The Godfather of photography 👍🏼😊
The Godfather of Street Photography.yes…but
The Godfather of Photography is still Ansel Adams😊
@@Pyrahna241 actually, I wouldn't call it street, it was a whole genre, the humanist photography (if I translate it right)...if we would expand the scope, I'd say Edward Curtis is the GOAT. He dedicated his life, his wealth to document the natives before their culture would disappear...🙂
Thanks, Tatiana. Just keep doing what you‘re doing.
Color is always about color. B&W is always about subject. Without light, there is no photography. Great video, I subscribed. Thanks, Rick…..
Thanks Rick! Welcome to the club :)
Thanks for your video, Tatiana. Absolutely inspiring!
Cartier-Bresson, one of the all time greats. His philosophy is genius. I have learned as much about my own life through his philosophy as I have about photography. Not sure if there has been a photographer who has had such an impact on me nor of there will be. There are others who are also highly influential, but, Cartier-Bresson just had an eloquent, positive, childlike innocence outlook to his photography.
@@yeohi I’m not talking about his photographs, I’m talking about his philosophy on photography.
Completely agree Chris! I think you comment does have a good point specially when you mention his childlike innocence outlook to photography he definitely saw value in everything and never took anything for granted. Cheers for watching Chris! Happy holidays
Когда открываешь видео, с четкой установкой вроде "ну что я не слышал про Картье-Брессона", а по итогу с интересом смотришь до конца))
I'm really glad that Alex at The Photographic Eye sent me your way all those months ago. Another great show,
Cheers William!
Cartier-Bresson, one of the best of all time!
I think I read that he used a small, Leica rangefinder that he kept hidden in a pocket until he was ready to shoot and he was very quick taking the shot and then hid the camera and walked away. He was like a spy with a camera.
Have yourself a Merry Christmas and a happy and prosperous 2023 (energy bills permitting). Thank you!
Thank you so much Paul! Appreciate it and the same to you, much love, peace and health!
I own that book, and really love Cartier-Bresson. Love what you do too! Thanks ;-)
Thank you Robert 🙏🏻
Thanks for sharing lessons from one of photography’s greats! Being one who loves shooting in B&W, Cartier-Bresson’s work resonates with me.
🙏🏻
Thank you for that. I think converting colour to b&w has only limited potential, because the images you look to capture in the first place will be quite different, depending on whether you seek a colour or b&w photo. For me personally, b&w works better unless the subject or theme of the photo is colour itself.
Another great video Tatiana, love Bresson's work, was a real inspiration to me.
Thank you 🙏🏻
Great work, every photo has one story
Do take a look at 'House of Love' by Dayanita Singh if you will. She is not nearly as famous as Cartier-Bresson, clearly, but it'd be interesting to feature a female photographer (I believe she won the Hasselblad award this or last year) who has been extremely important in the photography of the subcontinent. Cheers!
On the subject of color versus black and white, my own feeling is this: If the depth of the scene is provided by color, you need color. If depth is provided by shapes and lines, black and white may be better. And that's leaving aside the fact that I'm also too lazy to do my own color development. :)
Well done Tatiana, I'm always picking something up from your videos. Book recommendations is always a great idea.
Have a wonderful holiday.
Thank you so much Rich! Glad you’re able to always pick up something :) cheers for watching and happy holidays my friend 🤍
Wonderful video, thank you! Ever since learning about dynamic symmetry and Cartier-Bresson’s use of it, I’ve been noticing it more and more in his images. Saw a few here I’d never seen before even and many of them also had it. It’s definitely inspired me to try and use it in my own work, but it’s a lot harder to use than the rule of thirds! I’d love to see a video where you get into great users of other composition techniques, and how to apply them yourself like hcb.
Thank you so much for your feedback I appreciate it! I read your comment and reminded me of two videos I made a while ago that you might enjoy it’s on the subject of composition:
ruclips.net/video/cHcrRD2YI4w/видео.html
& ruclips.net/video/Y4d_EW7EQT4/видео.html
Excellent - thank you. The book 'Henri Cartier-Bresson Paris Revisited' is very good on his early years as a photographer. Your important point about perspective and how to achieve depth is well illustrated in Paris Revisited. Also good on french history. Thanks again
Lovely thank you for the recommendation Malcom I’ll look up that book! Cheers for watching! 💫
colour - when color came up he was asked why he still goes B&W. He said that color is much more difficult - he did study that a lot, and was aware on painting and which color you may use for the background etc pp - in his later days he was painting - you may google eg 'Henri Cartier-Bresson "A.S. Blouse Orange, 1984"' just as example.... for me it seems to be much more difficult to get a real good B&W, only converting color to B&W doesn't make the job .... cheers axel
You yourself are extraordinary. Keep doing it. I could listen to you all day ;).
Thank you so much Serge!
Your content is awesome. I really enjoy what you are bringing to the world.
Thank you so much 🙏🏻
Great video on Cartier-Bresson
Glad you enjoyed it! Thanks for watching!
I'd love to see a video focusing on the life and work of Andre Kertesz!
I made a video about Andre Kertesz not that long ago, title is: "Master Your Composition With This Street Photography Genius."
I very highly recommend the book: Henri Cartier-Bresson The Modern Century. By Peter Galassi. It is published by MOMA.
Thank you for watching and the recommendation John!
Might I recommend Ed van der Elsken , in particular his book “Lust for life”. He is my favorite street photographer after Bresson and Fan Ho . He really captured the human condition and showed people not just subjects. Hopes this helps in your quest for more photobooks 😊
Absolutely! He’s just amazing and not enough people talk about him.
Thank you for watching and recommending the book!
Another thoughtful and thought-provoking video, thanks! And stay warm (we read about England's economic problems).
Thank you Mark!
Another great and informative video Tatania.
Thank you Keith 🙏🏻
Excellent knowledge
Good video, thank you. I wondered about your color grading for the presentation content. Looks like straight clog or something. Aesthetic choice?
Thought provoking as usual and great soundtrack…….speaking of which I’ve really been enjoying Patti Smiths book of days…..photojournal as didactic therapy perhaps….you may find it interesting…….thanks for all your hard work this year and Merry Christmas!
Thank you so much Tylar, I’ll look it up I have made a video about her photography and I had a book by her on that video but I don’t think it’s the same you mentioned, happy holidays! 💫
always appreciate your work... have a nice holiday.....
Thank you Stuart! Cheers for watching!
This was very enlightening and I really enjoyed your presentation style. ✌️
Thank you Alan!
mais um excelente video Tatiana. Bom 2023 :)
🙏🏻❤️
Thanks!
Excellent video, as usual. Happy Holidays Tatiana, from The Netherlands.
Happy holidays Raymond, thank you for watching!
Could you please recommend me two books about photography that every beginner should read ?
Thank you 👍
Please consider a series on W. Eugene Smith, Robert Capa, Arthur Fellig and some other press photographers.
Yes 🙌
@@TatianaHopper I look forward to see them as I do ALL of your casts
I'd like to see you also do a show about; Margret Bourke White. Maybe another show; about the first photographers.; that worked for Life Magazine.
She was so brave. The things that she would do to get a great shot. She seemed to only do those farting shots; because there no other way to get that epic shot. I liked her story of how she got that picture of Stalin. From the humble beginnings; her father was a printer. To the original staff at Life Magazine. I find Margret Bourke White amazingly amazing.
Darnitdarnit!! Spell correct. I wrote darring shots. Not farting shots. Dam robot. I'd like slip that spell correct robot a can of degreaser. Make it go run for a oil change!
I mentioned her in my female film photographers series which you can find on the playlists of the channel :)
Aaahh she is back with the music, along with a beautiful video!
Yes 🙌
At last! I missed the music too to be honest 😅
Great video as usual! Thank you! 🙇
Thank you Alba 🤍
He is a master, thanks for making the video. I agree in trying to experiment with both color and bw. There’s no magic formula as to how one approaches each. Also I am worried your apartment is too cold.
Thank you so much for watching! Appreciate your comment and no my house is not too cold if your comment is because I’m wearing a hat inside I just like to wear it, thank you for caring :)
fantastic subject and video :-)
I recently asked a fellow photographer friend that if he had to pick a single image to explain the concept of photography to an invading space alien, what would that picture be?
of course, I had to think myself, and it would have to be an HCB image (the decisive moment and the freezing of it, is after all what photography is about)
Your pronunciations are always spot on. Where are you from?
You should definitely check the works of 'Raghu Rai', You won't be disappointed!
To hear your perspective of this guys work. Thanks; a great Xmas present. Merry Xmas!; 2ya
🙏🏻🙏🏻
i always enjoy you videos and thoughts, i wish you a merry christmas... 🙂🎄
Thank you so much for watching, I know Christmas is done for this year but I hope you had a good one!
Great video. I think that Cartier Bresson did do some color work when required by the magazine's he worked for but on his own he took some color shots but destroyed them.
Henri was at a party with Wm Eggleston and Henri said that color was bulls... at which point Eggleston got up and left.
Henri was deeply into painting and when I look at many of his shots I see a cubist or surrealist or a Cezanne painting first into which Henri has populated with figures.
Also I don't believe in his Decisive Moment. A single shot can be very inconsistent with what went on moments before and after it.
Henri is a landmark photog and his work very seductive but I'm not his biggest fan.
I always wonder what photographers like Henry Cartier-Bresson, Saul Leiter, Fred Herzog etc. would photograph today and if we would also like their work so much if they were contemporary photographers. Do we really love their photos (only) because of their artistic value as such or (most of all) because they show us a world that does not exist anymore?
That’s a really good question and to be honest with you one that got me thinking, I definitely think they’re photos also sustain some power because of the the subject matter and of course where and when they were taken counts a whole lot and I do think they benefited from the design / look / colours of certain decades and spaces.
@@TatianaHopper Just to give you one example: in my opinion Alex Webb's more recent photos taken in cities like NY or Chicago have little or nothing to do with his photos taken in more exotic places like Haiti or Mexico (like the ones included in The Suffering of Light). The location and the decade make a huge difference and maybe I wouldn't admire him that much if I only knew his more recent photos (which to me are not that special).
When I get more recognition hopefully you will talk about my 5 decades of recreating the Life Realities!
Bresson said doing photography was better than walking the streets. Probably.
🖤
great!! What is that intro song?
Read the description of the video :)
I agree Bresson is a good photographer. But he is timeless because he is really it or we chose he is. Because on my opinion there's other photographers much more timeless than him.
Greater above all
🙏🏻🙏🏻
A good practice when shooting in B&W is shoot the B&W images in jpeg. This way, if using a mirrorless camera, you can see the image in B&W before pressing the shutter. If your body has this feature, shoot jpeg and raw. This way you have a color negative. The best of both worlds.
Thank you for your videos and season greetings.
Mask On Nurse Marty
Interesting I don’t own a mirrorless but it’s definitely a good idea Martin, cheers for watching! And happy holidays to you!
Marty, I use Fuji cameras and shoot jpeg and raw, though the raw files are almost always "safety negatives". The further adjustments within the B&W film sims allow me to fine tune the look with immediate feedback on the LCD. If you shoot Fuji, you can further influence the look of B&W images by changing the white balance settings. Try some adjustments using Kelvin WB, especially toward the low and high ends of the range.
@@dougmacmillan1712 I'm interested in getting a Fuji for the stimulations and also the colors in some of the earlier x-trans sensors. Which cameras do you use for B&W? Thinking of getting the x-h1 as my first mirrorless system.
@@javiervidal366, that would be a good choice. I have the H1, as well as the X-E1, X-E2s and X-E3. The H1 and E3 have the Acros simulation, which is a great B&W look. The E1 and E2s have standard B&W. They don't look quite as good as Acros at standard settings, but you can adjust the settings and come up with some really nice B&W images. I shoot B&W with all four cameras.
If you go H1, I recommend getting one with the battery grip if possible. It makes the camera more bulky (but is easily removed if desired) because the H1 ungripped battery life is not long. The grip is pretty much needed for shooting video IMO. Cheers!
@@dougmacmillan1712 perfect, thank you. Can't wait to get into the Fuji line. Was going to go with x-t2 at first, then I read all the reviews on the x-e1 and e2. I'd like to go for the earlier x-trans sensor lines; so the e2 or the h1.
Billy Joel says,
We didn't start the fire
It was always burning, since the world's been turning.
Why?
your chanel is great
Thank you so much for watching!
brava! thanks
Thank you ❤
Maybe you want to explore to Nacho López one of the biggest Mexican photographers
Thank you for the suggestion!
Intro song?
I was watching one of your videos today and I was not able to comment. You mentioned Kodachrome as a negative, slide film is a positive
Yes that’s right I must’ve made a mistake if I did say it was negative but I know it’s a positive :)
@@TatianaHopper I knew you made a mistake but it was bothering me so I had to bring it to your attention
@@anthonygeorge5604 Which video was it? Perhaps I can correct it or leave a note.
@@TatianaHopper it was was about the photographer who shot with Kodachrome sorry I forgot his name it could be Joesef
Robert Frank - The Americans
ruclips.net/video/usEpZTWITcA/видео.html
Great video. Personally I am not a fan of zooming/panning on existing still images, like you sometimes do here though. The image was created by the author with his/her own cropping in mind. When you zoom in and out (or panning) in a video like this, you are changing the perception of the original image and the thought the photographer had to begin with. Just my personally opinion of course ;)
When showing photos of such artists you really should always keep them still and DO NOT move the "camera" in your editing software to try to create interest. These works are intended to be viewed as still images for a reason and it is also much more difficult to pick up on the subtleties of composition when the you change what is in shot.
If you want to make a more interesting and dynamic video, punch up the writing and editing. Let the photos be what they are - stills.
💜🖤🧡💚❤️🤎🤎💛
Cartier-Bresson - at least occasionally - must have walked around taking photographs just for the fun of it, and, surely, not all of his photographs were masterpieces. What's become of those other Cartier-Bresson photos, the non-masterpieces?
I think Bresson is similar to Picasso, he became so famous that everything he made even a simple drawing on a napkin was highly praised. Personally I feel Bresson falls under the same category, even though some of his works might not be as strong they’re still revered by galleries and valued in a lot of money. I don’t know that’s my thoughts though …
@@TatianaHopper , thank you. That's an interesting thought.
@@TatianaHopper , Cartier-Bresson must have taken thousands and thousands of photos in his lifetime. MY guess is that the editors of his photography books simply had thousands and thousands of photos to choose from. :-)
Sorry but the question you are trying to answer "how would it work in colour", is pretty wrong. When you shoot in b/w you just think differently.
It is required a different approch to the image, where lights, textures, shapes gives the dimensions. If you put colour in it, it will not work. Simply.
Same with getting rid of colours to have a b/w image. It's simply a wrong exercise, if you didn't think the image in b/w in camera.
Ciao
I think what she tried to say is maybe just think about how colour can change an image and what we can learn if we look at images with and without colour, that’s how I understood it at least as she did mention it’s a different experience and set of skills shooting with B&W 🤷♂️
Yeah more like what you said 💯
The Ken Burns effect. Why?
I love your videos, but less head room while you're speaking?
Thanks for the feedback!
As much as I like his work, "The Mind's Eye" left me annoyed with his, I guess now dated, views on photography.
MPB ist just to expensive and a rip off, especially for folks that sell used stuff. Be aware and look closely at images of things they sell. If a view finder or eye cup is missing or there is a dent - you get your product exactly that way.
It looks like your room is terribly cold. The lens has fogged up and you have to wear a cap
Wtf is wrong with people 😂
Blah blah blah, didn’t learn a thing!
Great video tutorial but close to useless given today's law in France and othe countries about privacy and copyright. Photographers will be strangled soon and no one can be a new HCB in near future.
T, I still haven't figured out how to enter the comp but I follow you here and on Insta and get so much from that. So let someone else have the giveaway :) As for B&W, I found that, like you suggested, converting some of my colour images to B&W gave me an idea of what might work in future images. I now try to see in B&W. Something to note is that many mirrorless cameras will let you compose a shot in B&W so you can get an idea what it might look like. Finally, sometimes colour can be a distraction. Anyway, terrific video as always. Merry Christmas.
Some nice snaps + some crap. Not for me, thanks.