A photographer ninja. Look at how stealthy this guy is. Walks confidently around. Wears everyday clothes just like everyone else minding their own business. Eyes always composing scenes around him. Sees the picture, pulls camera up, snaps the pic, walks off in a matter of seconds.
If you notice he's also always hiding his camera behind his sleeves. Just like how he purposely removed the reflective and shiny element of the Leica branding on his camera.
It would be fantastic if some one could do english subtitles to this document. A lot of photografers around the world is interested in what the master of street photography is saying!
French educative movies are great, thank you so much. Wish there were subtitles (it could be a good task for those who study the language and a joy for those who do not undersand French).
Just enjoy the Master at work. Look at his process and photos. These are what is important. Whether or not you speak French is secondary, altho subtitles would be nice and appreciated. merci.
Here is a ChatGPT translation of the transcription to english 0:10 "You won’t see his face because he doesn’t like people doing to him what he does to others. We had to be clever with him to capture his image and thoughts." 0:25 "Henri Cartier-Bresson founded in 1945 a cooperative agency, Magnum, which now has about twenty photographers. They have no financiers other than their own work. It’s independence without isolation; it’s a way of living, understanding, and making others understand." 0:46 "For me, photography is a way of drawing, not a way of keeping a diary. And fundamentally, if there were no need to communicate, to show others what we like or dislike, to bear witness to our world, our era, wouldn’t it? I’d enjoy myself just as much if I didn’t have film in the camera." 1:15 "For me, the great joy is being in front of a subject that imposes itself on me, then capturing it at the right moment. Isn’t it? And pressing the button at just the right time." 1:23 "What is the right moment for you?" "It’s a connection between the eye and the subject, felt intuitively, and a rigorous composition, in fact a geometry that surprises you. That’s a fraction of a second, and that’s the only moment of creation." 1:35 "We have the chance in our profession to go to many places, to compare countries, not with our own or with ourselves, which would be wrong, but to compare a country with itself. Where is it now? Where was it 10, 20, 30 years ago, and where is it going?" 1:55 "The ‘why’ is what’s interesting, capturing things at the turning point." 2:00 "You have to clear away all preconceived ideas, all clichés. In front of reality, you have to forget yourself, let the subject soak into you." 2:14 "Before you started taking photos, did you do anything else?" "I did poorly in my studies. I painted; I still think about it a lot." 2:25 "I worked with Jean Renoir; I was assistant director on The Rules of the Game. And earlier, with Zoboda and Jacques Becker on A Day in the Country. Working with Renoir was wonderful." 2:39 "Is there a connection between photography and cinema?" "No, they’re different tools. One is about recomposing, while we are more like pickpockets, a little like that." 2:47 "We steal moments. Perhaps it’s a personal view, but there are a lot of photographers who share a feeling about the sense of this profession, its possibilities, and its limitations." 3:07 "What is that feeling?" "To be witnesses of our time, without pretension, without judgment, perhaps." 3:15 "We’re not presenting thesis pieces, absolutely not-on the contrary." 3:23 "It’s the immediate thing, isn’t it, that struck us, the sensitivity that is immediately transmitted to the film." 3:33 "There’s an immediate contact, one that few other forms of expression have. You can’t manipulate it, which is why we don’t have the right to manipulate." 3:40 "For me, photography, as Americans say, has no gimmicks, no preconceived ideas, no tricks, no staging. For me, it’s dead, sterile, even dishonest." 3:55 "You don’t retouch your photos?" "If the photo is good, I don’t retouch it. It was taken at a given moment, from a given place, and for me, it’s the question of time that is essential." 4:07 "We saw something at that particular moment and-well, it’s also a question of luck, isn’t it? Enormously, but to the extent that you want something, it comes about, in one way or another." 4:12 "You have to think constantly-except when you’re photographing. At that moment, it’s intuition alone, a kind of joy that seizes you before the subject, before the forms." 4:19 "It’s visual joy, and working in André Lhote’s studio helped me a lot with that." 4:25 "The love of painting is something that exists among many photographers. We aren’t failed painters; it’s just a different tool." 4:35 "But it’s still the joy of form, of composition, of light." 4:42 "I saw that in one of my colleagues, who also passed away in Peru-Bischof. For him, it was about light. For me, it’s more about geometry; I have a passion for geometry. I can’t count, but the joy is in seeing something that falls just right." 4:56 "But do you look for it, or does it present itself?" "It presents itself, but as far as you have a taste for painting, you love certain painters." 5:04 "I love Paolo Uccello above all; we feed on certain things, don’t we?" 5:13 "Well, if you love Carolus-Duran or academic painters, well, it has consequences. One doesn’t do anything by accident." 5:20 "Henri Cartier-Bresson doesn’t seek sensationalism, the unusual, the comic, or even indiscretion. So what remains?" 5:30 "The play of lines, forms, colors." 5:32 "I don’t believe in abstract photography; for me, it’s disembodiment." 5:40 "One has to be grounded to regain strength. Abstract photography, for me, is an academicism." 5:49 "Let’s get to some concrete examples. You went to China some time ago. What did you see in China? You took many photos." 5:56 "When you’re doing a report on a country, in a somewhat general way, you have to think of the different aspects that need to be addressed. Then, once you’ve made these compartments, you have to forget them and think about the problem in an abstract way. Contact with reality fills these boxes." 6:20 "Be curious, as curious as the Chinese." 6:22 "Do you talk to people in the street?" "I don’t speak Chinese." 6:30 "I lived in China for a year, six months under the Kuomintang, and six months in People’s China. I went back ten years later to compare." 6:42 "You need a work plan; it’s not difficult. There’s industry, leisure; all the issues are well known. You just have to read the papers and think a little." 6:52 "But were you able to photograph freely whatever you wanted in China?" 6:56 "First, you have to understand the Chinese mentality, which is a fairly complex thing. The Chinese are a bit like the Normans in some ways, but-" 7:05 "But you’re like that too; you didn’t answer my question." "I can be quite Chinese, too. These are discussions that go on endlessly, don’t they?" 7:13 "One has to have a certain patience. It’s a considerable effort to have patience, but it’s hard to explain." 7:25 "How are you received there when you take photos?" "With extreme politeness, very great politeness. That’s one of the difficulties; my profession isn’t very polite by nature." 7:34 "They made my work much easier in the communes and all the official organizations. But I explained to the Chinese that I was interested in reality, in what one sees on the sidewalk." 7:48 "Chinese people are used to presenting themselves in a dignified way, not to being caught unprepared, a bit buttoned-up. This creates certain issues." 8:00 "In every country, the problem is different. The Chinese are different from us; Americans are different from us. People don’t pay attention to the camera anymore; everyone has one." 8:10 "It’s like having a pen; we have a camera; it’s part of the ensemble. In China, people are wary of it." 8:20 "Ah, the Chinese are wary people, aren’t they? The French are also quite wary." 8:28 "Italians pose as if on a theater stage. It’s very nice, but then you get people shaking hands and smiling with big gestures." 8:40 "You have to sneak in quietly like a wolf; it’s about being discreet. That’s why I have to hide myself." 8:47 "You have to understand people’s reactions, their mentality, their perspective, their taboos, and take them into account. If you push people, you get nothing." 9:01 "You won’t be able to catch anything real; it’s like going fishing without scaring the water away." 9:10 "Of course, if one day you have to do a report with three police officers following you, that’s a heavy burden, isn’t it?" 9:18 "Henri Cartier-Bresson doesn’t print his own photos anymore. He knows how, he has done it, but he prefers to dedicate his time to taking pictures. Since he met Pierre Gassman, who knows exactly how to transcribe what he desires."
Pouvez-vous s'il vous plaît nous dire de quelle année date la vidéo et dans quelle rue du marché elle se trouve en 2:49 et plus ? Can you please post from which year is the video, and what market street is in 2:49 and further? Best regards!
The presenters of this documentary are Jean Bardin and Bernard Hubrenne who was also actor. The two guys made documentaries for the french tv RTF between 1960 and 65.
The photos neither for HCB. That's what he says. (words more, words less, he doesn't give a f´ck about the taken photos, his only interest in next photo his going to take. He speaks about his conceptuel approach.
photography vs.video?...not an either or but personally I'd rather watch the "film" of Cartier Bresson working+ listen to the audio than just look at his photos.
No... it's important that all things be translated to the international language of English. The French and their language can and most likely will be eliminated so why not have a suitable back up for other cultures to view and enjoy.
I adore the Henry Cartier Bresson's photographies.
His style and his attitude are unique
Greetings from italy
I've read descriptions of how he moved when working -- fascinating to actually see him! He's like a dancer! Very fluid and quick.
Merci beaucoups!
HCB è la poesia nella Fotografia! Difficile aggiungere altro è Unico un grande Maestro per tutti!Paolo Ravera Alessandria
A photographer ninja. Look at how stealthy this guy is. Walks confidently around. Wears everyday clothes just like everyone else minding their own business. Eyes always composing scenes around him. Sees the picture, pulls camera up, snaps the pic, walks off in a matter of seconds.
If you notice he's also always hiding his camera behind his sleeves. Just like how he purposely removed the reflective and shiny element of the Leica branding on his camera.
It would be fantastic if some one could do english subtitles to this document. A lot of photografers around the world is interested in what the master of street photography is saying!
He had a sneaky way of capturing some good moments in time, genius :)
French educative movies are great, thank you so much.
Wish there were subtitles (it could be a good task for those who study the language and a joy for those who do not undersand French).
Just enjoy the Master at work. Look at his process and photos. These are what is important. Whether or not you speak French is secondary, altho subtitles would be nice and appreciated. merci.
Here is a ChatGPT translation of the transcription to english
0:10 "You won’t see his face because he doesn’t like people doing to him what he does to others. We had to be clever with him to capture his image and thoughts."
0:25 "Henri Cartier-Bresson founded in 1945 a cooperative agency, Magnum, which now has about twenty photographers. They have no financiers other than their own work. It’s independence without isolation; it’s a way of living, understanding, and making others understand."
0:46 "For me, photography is a way of drawing, not a way of keeping a diary. And fundamentally, if there were no need to communicate, to show others what we like or dislike, to bear witness to our world, our era, wouldn’t it? I’d enjoy myself just as much if I didn’t have film in the camera."
1:15 "For me, the great joy is being in front of a subject that imposes itself on me, then capturing it at the right moment. Isn’t it? And pressing the button at just the right time."
1:23 "What is the right moment for you?"
"It’s a connection between the eye and the subject, felt intuitively, and a rigorous composition, in fact a geometry that surprises you. That’s a fraction of a second, and that’s the only moment of creation."
1:35 "We have the chance in our profession to go to many places, to compare countries, not with our own or with ourselves, which would be wrong, but to compare a country with itself. Where is it now? Where was it 10, 20, 30 years ago, and where is it going?"
1:55 "The ‘why’ is what’s interesting, capturing things at the turning point."
2:00 "You have to clear away all preconceived ideas, all clichés. In front of reality, you have to forget yourself, let the subject soak into you."
2:14 "Before you started taking photos, did you do anything else?"
"I did poorly in my studies. I painted; I still think about it a lot."
2:25 "I worked with Jean Renoir; I was assistant director on The Rules of the Game. And earlier, with Zoboda and Jacques Becker on A Day in the Country. Working with Renoir was wonderful."
2:39 "Is there a connection between photography and cinema?"
"No, they’re different tools. One is about recomposing, while we are more like pickpockets, a little like that."
2:47 "We steal moments. Perhaps it’s a personal view, but there are a lot of photographers who share a feeling about the sense of this profession, its possibilities, and its limitations."
3:07 "What is that feeling?"
"To be witnesses of our time, without pretension, without judgment, perhaps."
3:15 "We’re not presenting thesis pieces, absolutely not-on the contrary."
3:23 "It’s the immediate thing, isn’t it, that struck us, the sensitivity that is immediately transmitted to the film."
3:33 "There’s an immediate contact, one that few other forms of expression have. You can’t manipulate it, which is why we don’t have the right to manipulate."
3:40 "For me, photography, as Americans say, has no gimmicks, no preconceived ideas, no tricks, no staging. For me, it’s dead, sterile, even dishonest."
3:55 "You don’t retouch your photos?"
"If the photo is good, I don’t retouch it. It was taken at a given moment, from a given place, and for me, it’s the question of time that is essential."
4:07 "We saw something at that particular moment and-well, it’s also a question of luck, isn’t it? Enormously, but to the extent that you want something, it comes about, in one way or another."
4:12 "You have to think constantly-except when you’re photographing. At that moment, it’s intuition alone, a kind of joy that seizes you before the subject, before the forms."
4:19 "It’s visual joy, and working in André Lhote’s studio helped me a lot with that."
4:25 "The love of painting is something that exists among many photographers. We aren’t failed painters; it’s just a different tool."
4:35 "But it’s still the joy of form, of composition, of light."
4:42 "I saw that in one of my colleagues, who also passed away in Peru-Bischof. For him, it was about light. For me, it’s more about geometry; I have a passion for geometry. I can’t count, but the joy is in seeing something that falls just right."
4:56 "But do you look for it, or does it present itself?"
"It presents itself, but as far as you have a taste for painting, you love certain painters."
5:04 "I love Paolo Uccello above all; we feed on certain things, don’t we?"
5:13 "Well, if you love Carolus-Duran or academic painters, well, it has consequences. One doesn’t do anything by accident."
5:20 "Henri Cartier-Bresson doesn’t seek sensationalism, the unusual, the comic, or even indiscretion. So what remains?"
5:30 "The play of lines, forms, colors."
5:32 "I don’t believe in abstract photography; for me, it’s disembodiment."
5:40 "One has to be grounded to regain strength. Abstract photography, for me, is an academicism."
5:49 "Let’s get to some concrete examples. You went to China some time ago. What did you see in China? You took many photos."
5:56 "When you’re doing a report on a country, in a somewhat general way, you have to think of the different aspects that need to be addressed. Then, once you’ve made these compartments, you have to forget them and think about the problem in an abstract way. Contact with reality fills these boxes."
6:20 "Be curious, as curious as the Chinese."
6:22 "Do you talk to people in the street?"
"I don’t speak Chinese."
6:30 "I lived in China for a year, six months under the Kuomintang, and six months in People’s China. I went back ten years later to compare."
6:42 "You need a work plan; it’s not difficult. There’s industry, leisure; all the issues are well known. You just have to read the papers and think a little."
6:52 "But were you able to photograph freely whatever you wanted in China?"
6:56 "First, you have to understand the Chinese mentality, which is a fairly complex thing. The Chinese are a bit like the Normans in some ways, but-"
7:05 "But you’re like that too; you didn’t answer my question."
"I can be quite Chinese, too. These are discussions that go on endlessly, don’t they?"
7:13 "One has to have a certain patience. It’s a considerable effort to have patience, but it’s hard to explain."
7:25 "How are you received there when you take photos?"
"With extreme politeness, very great politeness. That’s one of the difficulties; my profession isn’t very polite by nature."
7:34 "They made my work much easier in the communes and all the official organizations. But I explained to the Chinese that I was interested in reality, in what one sees on the sidewalk."
7:48 "Chinese people are used to presenting themselves in a dignified way, not to being caught unprepared, a bit buttoned-up. This creates certain issues."
8:00 "In every country, the problem is different. The Chinese are different from us; Americans are different from us. People don’t pay attention to the camera anymore; everyone has one."
8:10 "It’s like having a pen; we have a camera; it’s part of the ensemble. In China, people are wary of it."
8:20 "Ah, the Chinese are wary people, aren’t they? The French are also quite wary."
8:28 "Italians pose as if on a theater stage. It’s very nice, but then you get people shaking hands and smiling with big gestures."
8:40 "You have to sneak in quietly like a wolf; it’s about being discreet. That’s why I have to hide myself."
8:47 "You have to understand people’s reactions, their mentality, their perspective, their taboos, and take them into account. If you push people, you get nothing."
9:01 "You won’t be able to catch anything real; it’s like going fishing without scaring the water away."
9:10 "Of course, if one day you have to do a report with three police officers following you, that’s a heavy burden, isn’t it?"
9:18 "Henri Cartier-Bresson doesn’t print his own photos anymore. He knows how, he has done it, but he prefers to dedicate his time to taking pictures. Since he met Pierre Gassman, who knows exactly how to transcribe what he desires."
Cartier Bresson was THE MASTER.
Cartier ele estava sempre atrás da perfeição, sincronismo, do momento único .
Mestre Bresson \\o
One of HCBs most important role models was Kertesz, he kind of invented photography as an art form :)
Pouvez-vous s'il vous plaît nous dire de quelle année date la vidéo et dans quelle rue du marché elle se trouve en 2:49 et plus ?
Can you please post from which year is the video, and what market street is in 2:49 and further? Best regards!
Sorry but I don't know :-(
The presenters of this documentary are Jean Bardin and Bernard Hubrenne who was also actor.
The two guys made documentaries for the french tv RTF between 1960 and 65.
In part 2 they talk about marché Saint-Pierre and marché de clingnancourt
@@jean-claudemuller3199Thanks!!!
wow - great vide, great find
great, great, great!
Avec les subtites espanyol. Merci. Ou est le vincule pour ca?
muy buen video lo maximo
Quelle est donc cette musique que l'on entend durant la première minute?
belle et grande leçon de photographie
@lanchapatera cual es el nombre del video?
Agnès Varda ma voisine ou j'ai rencontré HCB en 1963 le plus grands surtout le regards de la géométrie.
nice video!
@lanchapatera y los subtítulos dónde están?
@woodecurry You make it sound as if those millions can't LEARN. That's the key.
I hope it got a English subtitles, can any translate it??
il a inspiré beaucoup de gens cartier bresson
lanchapatera, could you give any subtitles you have? If you don't have the english ones, online-translators will do ))
what a guy!
This would be a lot more useful with English subtitles. The example photographs shown aren't particularly inspiring.
you know nothing
Good, they aren't ment to be watched and judged by small brained people like you
The photos neither for HCB. That's what he says. (words more, words less, he doesn't give a f´ck about the taken photos, his only interest in next photo his going to take. He speaks about his conceptuel approach.
La photo? ne se Quantifie PAS?>>§§
même au Temple?
Go to"CC" - "Translate Captions" - "English" Done! You got your subtitle.
notice that in the video, HCB face is never seen.
ho el gran maestro bresson
good
@bardamuphoto n'est-ce pas? :-D
billions of photos from cell phones and not ten come close.
Exacto. Y lo peor es que se atreven a criticar su obra en RUclips
yeah, HCB was very insistent in his identity remaining anonymous so that no one would recognize him when shooting.
❤️❤️❤️
@mainandmizzen I speak french, english and spanish.If you put in the effort,it is possible and so interesting to open up to a different culture.
photography vs.video?...not an either or but personally I'd rather watch the "film" of Cartier Bresson working+ listen to the audio than just look at his photos.
No... it's important that all things be translated to the international language of English. The French and their language can and most likely will be eliminated so why not have a suitable back up for other cultures to view and enjoy.
No entiendo, si supiera francés sería otra cosa, ponle subtítulos!!!
He wears a handbag
thank god for forced french classes when i was a little turd
i'd be happy with spanish subs :(
Oh google, please create translator for audio :P
***JE N'AIME PAS
ce qui se cachent' dans LEURS TERRIERS????SelôN CyrulniK !!
POUR pas?
ÔFFRIRE ...!!!!!?!!?
YVELINE COLPIN les blaireaux dans leur terrier comme dirais l autre 😁bien à vous..
j ai pas trop aimer
subs :(