So the past few weeks the blog has been quiet due to my holiday, and the fact I’ve had a case of major creative block. I just can’t seem to get my head around this colour part of the course. I understand it, I’m just struggling for ideas and subjects to shot. In my frustration I decided to turn to the local Library for help and joined up to borrow a few books for inspiration. I started by looking at some of the photographers my tutor suggested to me after completing my 2nd assessment on elements of design and one which struck me most from his suggestions was Henri Cartier-Bresson.
His style feels so natural and yet it always seems to capture the perfect moment in his street styles, and his portraits are filled with the emotion set by the subject perfectly. In relation to my previous assignment, his photography is the best example of how to compose a shot so all the elements emphasise the main point of the image.
Here is a selection of his photos that I found to be particularly good at expressing elements of design:
Downtown New York, 1947
I love this image for the sense of isolation it gives, with the strong vertical lines of the buildings making it feel very narrow, and the lone person sitting on the pavement appears more lonely being positioned so far back in the frame. A very ironic setting as New York is one of the busiest cities on earth, making the picture feel very emotional to the viewer in its sense of separation from other people in an over powering place.
Martine’s Legs, 1968
This very seductive shot accentuates the female form by the very direct line the leg makes across the frame, starting from the pages being turned in the book in Martine’s lap, with the eye being drawn slowly down this imaginary line. It implies the way a man would look a woman up and down, in a slow deliberate motion that becomes quite sexy, even though the lady in question is doing something very unrelated.
Queen Charlotte’s Ball, 1959
I liked this image for the movement that is very apparent, capturing the scene very vividly and creating a sense of speed to the dance. Also the arch shape that the dancers in the middle have created helps to imply more movement within the shot, and makes the viewer feel as though you are being twisted and turned around with them in a very dizzying effect!
Paris, Boulevard Diderot, 1969
This last photo is probably my favourite, because of the different ways it can be interpreted. At first I noticed the implied triangle the two lovers make, with the apex made where the two heads meet, amplifying the importance of the kiss in the scene to bring out the emotion of the couple. Then you slowly notice the dog laid on the floor between them. At first I though his longing gaze up at the man and woman could be interpreted as sharing in the couples romance, but the same photograph appeared in one of the books I borrowed from the library entitled “20th Century Photography” by Reuel Golden, in which the author has written about the photo:
“This shot has all the hallmarks of Cartier-Bresson’s ability to compose images with a telling precision which cuts straight to the heart of the matter. The decisive moment is the lover’s kiss, but it is made that much more poignant by the mournful eyes of the dog staring at the girl, who may be a possible rival for the man’s affections.”
From this I realised that his work has the ability to be looked at in many different ways, depending on the viewers outlook. This and Cartier-Bresson’s ability to capture perfectly the right moment, supported by impeccable choice of subtly implied design elements makes his work extremely pleasing to look at and critique on, as there are so many possibilities and things to learn from someone who makes his photos feel so natural without you knowing why you feel that way about his work. It is an invaluable lesson to be able to see why his images work so well in creating subtle hints and emotions.
I have found Henri Cartier-Bresson's work to be quite valuable in teaching about subtle messages in photography and implied elements to emphasise his point of capturing the decisive moment.
Studying these work has opened up some new styles to my imagination, and ideas that I can take forward to help me in my next assignment. I might try to work on a similar style, but with colour as the focus, I always find I work better when I have a topic to base my work on so I can stay focused on the shots I need, where as lately I have found I am just shooting for the sake of shooting. Hopefully now I can concentrate on my assignment a little better with a new direction.
