Henri Cartier-Bresson - Essay Example

? Henri Cartier-Bresson Introduction If there has been a personification of photojournalism, the best attribute goes to Henri Cartier–Bresson by all means. This legendary photographer’s contribution in the field of filming the scenes into stills is a perfect reference for almost all the brilliant hands that worked behind camera from the very time he encrypted the depth of this creative art. It is needless to say that the lovers of the art of photo shooting and the audience across the world have equally praised his glory that stretched throughout the twentieth century. Any amount of congratulation and the height of honor bestowed to his creative craftsmanship will not be sufficient to reflect his excellence and dedication in this fine art. This biography tries to make a journey through his life that was all about making a history of photography with outstanding moments of achievements from the rarest events in the chronicle of world politics and his revolutionary vision in the future of photojournalism. Early life Henri Cartier-Bresson was the first of the five children born to a rather wealthy family based on textile manufacturing industry on August 22, 1908 in Chanteloup-en-Brie in France (Encyclopedia of World Biography). His hometown and the support of his family provided him with the facilities required for his choosing the desired path; and the young Henri embraced the art of sketching at every free minute-probably as a foundation for his development as a photographer later. Right from his childhood, Cartier-Bresson has a fascination for handling snapshot cameras and cherished a secret love for being a photographer despite his father’s ambition to make him his successor in the family business. One cannot blame Henri for his passion for the art of drawing because his father himself had a fine hand to hold the brush socked in colors at leisure. Cartier-Bresson’s life took a blissful turn when he realized that his attempts on music lessons were becoming futile-exactly when he compensated his loss at music learning by switching to painting as a subject of study under the guidance of his uncle who taught Henri until he died in World War I (Encyclopedia of World Biography). His real professionalism started in 1927 when he explored the wider spectrum of visual arts exposed by many great artists of that time. He learned the art of blending French classical painting with contemporary and modern art models and adopted the ambitious approach of the great sculptor and cubist painter Andre Lhote, whom Henri later held as his educator and considered excellence in sculpture designs as photography of imagination. Cartier-Bresson’s self-motivated enthusiasm to experiment his own styles in art modeling was not an easy bit for Lhote, who had always focused on the theoretical perfection of every artist. Thus an eventual restlessness in Cartier-Bresson’s self-styled interior might have caused the making of a completely innovative cameraman, who became the apt personality to be called ‘the father of modern photography’ in due course. Entry into Active Photography The transformation of a conservative businessman’s son to a matchless photographer of the world history was not something that happened overnight. The two-year study on painting and the experimental approach had a little break from Cartier-Bresson’s life when he was compelled to move out of Paris in 1931 when he went Africa (Henri Cartier-Bresson Facts). The new land of wild beauty and the delightful taste of a hunter’s hungry eyes did not last long-Henri realized that the beasts had beauty to be captured. In fact his African expedition nurtured his early skills in adventurous photography by which he learned the art of framing the exquisiteness of his surroundings. For this regard, he adopted a 35mm Leica and created magical effects on photo shoot with spectacular accuracy and clarity. At such an early time itself Cartier-Bresson was well equipped with lenses matching the contexts with cameras fit enough to do the editing tasks. Some of his works The subsequent years along the mid-1930s were the actual time the world started noticing his special talents. He first placed some of his photos in an exhibition in Mexico which attracted praises across renowned photo-experts. Around 1935, his passion was enlarged to the extent of film industry and he tried his hands in that field by working with some movie makers as a still photographer. The journey of this great French was all about exploring the capturing of real-time photos of routine events, which he fondly classified as street photography. There are hundreds of examples of his creative thinking and the special talent to find the hidden beauty of rather ignorable moments to common people. What made him significant in the largely commercialized field of this art was his attitude toward it. Cartier-Bresson wanted more from satisfaction of perfectness he endeavored each time than the money and popularity by exhibiting it. Therefore, most of his works were not printed for decades of time. His photograph titled “On the Banks of the Marne, 1938” is the snapshot of a group of holidaying tourist on the banks of the Marne (After Image). The clarity of the picture is so admirable considering the time it was taken. The picture shows the people relishing the things of their choice differently and the silence of the river bed that hosts their presence. It renders an inexplicable nostalgia to the viewers who would choose to holiday with their family at such a secluded piece of landscape. (On the Banks of the Marne, 1938. After Image) Another picture called “Behind the Gare Saint-Lazare, 1932” is an incredibly beautiful one in which a sprinting man is picked on the move (After Image). In this picture lies the speed and control of the great photographer’s coordination of eyes, hands and mind. This is a realistic photograph in which there cannot be retakes and the man’s shadow shows how quick the shutter speed was. And when we consider the grade of technology prevailed during that time, we should appreciate the special technical perfection mastered by Carter-Bresson. (Who Took This Photo of Imperial Eunuchs in Peking? Iconic Photos) The most significant characteristic of Henry Cartier was his skepticism about color application for which he strongly argued that color photography was more commercial than artistic. Even though time has brought positive changes in the approach to photography and many new photographers have tried their successful hands behind color cameras since the mid-twentieth century, Cartier-Bresson’s works have not been challenged so far – for their dimensions and the commitment he had put in them. Historical Moments in the Political Events A rather aimless in his approach to photography-as he believed the beauty of a still lay in its original form-Henri Cartier tried his effect in shooting political icons also. One of such monumental picture was taken when he came to India in 1947, in which the then Viceroy Lord Mountbatten is seen standing capriciously away from the moment as Prime Minister Nehru shares a joke and gives an outburst of laugh with Edwina Mountbatten. This picture took a spot in the political front as the photographer’s skill stood as an evidence of contrasts in the culture of the two nations. The very picture also generated a gossip about an assumed love affair surrounding the interracial imperial icons in the later years (Iconic Photos). In the political world, the most significant photographs ever taken could have been those of Gandhi’s – those were taken when the greatest political leader of the twentieth century was framed alive and dead in a span of less than half-an-hour by the very photographer, Cartier-Bresson. While this photographic venture was believed to be the most emotional one, he exploited the wit and visual realities of King George VI’s coronation ceremony in which he shot a man sleeping at the exact moment of the coronation (Cheroux 27). Being a short-while prisoner of war himself, Cartier-Bresson flashed his lens once at a repatriation camp in Dessau to shoot a Gestapo informer caught and exposed by one of the inmates. In this photograph, he tried to explore the emotional reactions of people with regards to situational challenges based on political requirements. Needless to say, all his photographs have a unique explanation lying inside the frame-a very intellectual way of depicting the role of situations as important as the focal objects in the images. He had a reason to support such photo shoots as he often said that more than the beauty of the photograph, he wanted to capture a microscopic part of the reality. Conclusion Henri Cartier-Bresson’s life that stretched a long ninety five years took him to play different roles in his life. He was a painter, sculptor, photographer and filmmaker at different stages of life that ended on August 3, 2004. His effective handicraft with the camera was evidently a reference editorial for many of the writers and press reporters and as a result he holds the title, ‘father of photojournalism’. His artwork pieces and photographs brought him the universal glory by way of the countless awards and honorary doctorates from different agencies of many countries. The uninterrupted series of yearly photo exhibitions and the list of films that were compiled from his photographs show the height of Cartier-Bresson’s professional excellence. Unlike a man born amidst luxuries, he was industrious and had enjoyed every worldly comforts with fruit of his labor. Survived by his daughter and the Henri Cartier-Bresson Foundation managed by her, he still lives in the minds of photo lovers across the globe. Works Cited After Image. Henri Cartier-Bresson 1908-2004. Web 2 April 2013 http://www.afterimagegallery.com/bresson.htm Cheroux, Clement. Henri Cartier-Bresson. Thames & Hudson, 2008. Print. Encyclopedia of World Biography. Henri Cartier-Bresson. Web 2 April 2013. Henri Cartier-Bresson Facts. Your Dictionary Biography. Web 2 April 2013 Iconic Photos. 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