The camera is for us a tool, not a pretty mechanical toy ... people think far too much about techniques and not enough about seeing.
Henri Cartier-BressonRead
A photographer is part pick-pocket and part tightrope dancer.
Interpretation
This quote highlights the dual nature of a photographer's craft, combining stealth and balance.
Henri Cartier-Bresson's quote emphasizes the intricate skills involved in photography. A photographer must be quick and observant like a pick-pocket, capturing fleeting moments, while also maintaining a delicate balance akin to a tightrope dancer, ensuring that their artistic vision is executed flawlessly without losing the spontaneity of the moment.
In practice
In a photography workshop, this quote can inspire participants to embrace the duality of their expertise.
The camera is for us a tool, not a pretty mechanical toy ... people think far too much about techniques and not enough about seeing.
The most difficult thing for me is a portrait. You have to try and put your camera between the skin of a person and his shirt.
Photography has not changed since its origin except in its technical aspects, which for me are not important.
Photographier: c'est mettre sur la meme ligne de mire la tete, l'oeil et le coeur.
Above all, I craved to seize the whole essence, in the confines of one single photograph, of some situation that was in the process of unrolling itself before my eyes.
Pictures, regardless of how they are created and recreated, are intended to be looked at. This brings to the forefront not the technology of imaging, which of course is important, but rather what we might call the eyenology (seeing).
An artist has no home in Europe except in Paris.
Since I was a kid, I've had an absolute obsession with particular kinds of American music. Mississippi Delta blues of the Thirties, Chicago blues of the Fifties, West Coast music of the mid-Sixties - but I'd never really touched on dark Americana.
I don't write tracts, I write novels. I'm not a preacher, I'm a fiction writer.
The proliferation of styles, genres, and media need not be the death knell of anything. Instead, it's a sign that our acceptance for variation and experimentation has become wider, our interests have become more diverse, and our appetites have become more omnivorous.
If you write fiction, you're by yourself. There are certain advantages to that in that you don't have to explain anything to anybody. But when you get in with others who share the loneliness of the whole enterprise, you're not lonely anymore.
Acting should be bigger than life. Scripts should be bigger than life. It should all be bigger than life.
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