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
Poetry is the essence of everything, and it’s through deep contact with reality and living fully that you reach poetry. Very often I see photographers cultivating the strangeness or awkwardness of a scene, thinking it is poetry. No. Poetry is two elements which are suddenly conflict — a spark between two elements. But it’s given very seldom, and you can’t look for it. It’s like if you look for inspiration. No, it just comes by enriching yourself and living.
Interpretation
Poetry arises from the deep connections between contrasting elements of reality, not from forced creativity.
In this quote, Henri Cartier-Bresson emphasizes that true poetry stems from a deep engagement with life and the spontaneous interplay of conflicting elements. He criticizes those who seek to manufacture poetic moments in art, suggesting instead that genuine inspiration emerges from enriching one's experiences and interactions with the world around us.
In practice
This quote is perfect for conversations about the nature of inspiration at an art class.
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).
You could say that my aim is ‘to recover the place’. The place is a result of nature and time; this is the most important aspect. I think my architecture is some kind of frame of nature. With it, we can experience nature more deeply and more intimately. Transparency is a characteristic of Japanese architecture; I try to use light and natural materials to get a new kind of transparency.
Things are pretty, graceful, rich, elegant, handsome, but, until they speak to the imagination, not yet beautiful.
Photographs may be more memorable than moving images, because they are a neat slice of time, not a flow. Each still photograph is a privileged moment turned into a slim object that one can keep and look at again.
Actors are basically drag queens. People will tell you they act because they want to heal mankind or, you know, explore the nature of the human psyche. Yes, maybe. But basically we just want to put on a frock and dance.
Wherever a dancer stands is holy ground.
Animators can only draw from their own experiences of pain and shock and emotions.
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