Henri Cartier-Bresson.

His Artist Statement

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. In order to “give a meaning” to the world, one has to feel involved in what one frames through the viewfinder. This attitude requires concentration, discipline of mind, sensitivity, and a sense of geometry. It is by economy of means that one arrives at simplicity of expression.
To take a photograph is to hold one’s breath when all faculties converge in a face of fleeing reality. It is at that moment that mastering an image becomes a great physical and intellectual joy.
To take a photograph means to recognize – simultaneously and within a fraction of a second– both the fact itself and the rigorous organisation of visually perceived forms that give it meaning.
It is putting one’s head, one’s eye, and one’s heart on the same axis.

1944

Henri Cartier-Bresson

Henri Matisse, Vence, 

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From my notes over the summer:

He started out a painter (joined French Resistance)
Like Lartigue, he was given a Brownie as a kid.

"The Decisive Moment"-- [so eloquently illustrated above]
a. not quite straight
narrow depth of field
&sometimes he has blurry images.                                             "plasticity"
                                                                                                [His titles are places]
Takes pictures leading up to & after the moment.
Advantage of roll film.

pre-anticipation- to be able to anticipate the decisive moment

Travels the world
Doesn't have one focus.

Not passing judgment.
-our common humanity-

an·o·nym·i·ty

/ˌænəˈnɪmɪti/ Show Spell[an-uh-nim-i-tee]  

–noun, plural -ties.

1.

the state or quality of being anonymous.

2.

an anonymous person: some fine poetry attributed to anonymities.

He did not want people to know what he looked like.

Camera w/ black tape

 

meant to be and wanted to be.... not seen.

Priceless liquid moment

He is discovering-- not creating.

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 George VI's Coronation, England, 1933

 

Mexico, 1964

Valencia, 1933.

There is always a braking up of spaces... a geometrical overtone-- if geometry has a tone. :] To me it does.

 

Calle Cuauhtemoctzin, Mexico City
11 x 14" silver print