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You Must Live and Look. In an interview from 1. Henri Cartier- Bresson spoke frankly about the early days of Magnum. Drawn from Aperture’s forthcoming Henri Cartier- Bresson: Interviews and Conversations, 1. Sheila Turner- Seed is a rare account of the photographer’s process. Henri Cartier- Bresson, Easter Sunday, Harlem, New York, 1. Magnum Photos. Sheila Turner- Seed: Do you think you see more now than you saw when you started photography at twenty?

Food Factory TV Show episode guide; watch full episodes of Food Factory online. In an interview from 1973, Henri Cartier-Bresson spoke frankly about the early days of Magnum. A semi-complete, alphabetical list of candies available in the U.S. Most are currently available, but some are out of production. This.

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Henri Cartier- Bresson: I see different things, I presume. But not more, not less. Watch The Ultimate Legacy Online here. The best pictures in The Decisive Moment were taken right away, after two weeks. That’s why teaching and learning don’t make sense.

You must live and look. All these photography schools are a gimmick. What are they teaching?

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Could you teach me how to walk? These schools are phony. And it affects the way you work. To work with people is different.

That’s why I liked it so much when we started Magnum, our photographers’ cooperative agency. We were working together and criticizing and going at the same speed, some quicker, some more slowly. Turner- Seed: But do you think that a photographer’s art can grow and mature? Cartier- Bresson: Mature?

What does that mean? It’s always about reexamining, trying to be more lucid and freer, and go deeper and deeper.

I don’t know if photography is an art or not. I see children painting beautifully and then at puberty sometimes a curtain drops. And then it takes a lifetime to get back—not the purity of a child, because you never get it back, once there is knowledge—but to get back the qualities of a young child. Turner- Seed: Josef Breitenbach, the photographer and teacher, once told me that he felt most good photographers were good from the beginning and growth was an absurd concept. Cartier- Bresson: I agree. Either you have a gift or you don’t. If you do, it’s a responsibility.

You must work at it. Henri Cartier- Bresson, General Chen- yi, Shanghai, 1. Magnum Photos. Turner- Seed: What made you decide to work in places like China and India? Cartier- Bresson: I think every place is interesting, even your own room.

But at the same time you can’t photograph everything you see. In some places the pulse beats stronger than in others. Watch Online Watch Dead In Tombstone Full Movie Online Film. After World War II, I had a feeling, with Bob Capa and Chim [David Seymour], that going to colonial countries was important. What changes were going to take place there? That’s why I spent three years in the Far East.

It was to be present when a situation was pregnant, when there was the most tension. When we started our picture agency, Magnum, in 1. People couldn’t travel, and for us it was such a challenge to go and testify: “I have seen this and I have seen that.” There was a market. We didn’t have to do industrial accounts and all that. Magnum is the fruit of Capa’s genius: he was very creative.

He played the horses to pay for our secretaries in the beginning. Once I came back from the Far East and asked Capa for my money.

He said: “Better take your camera and go to work. I had to use your money because we were almost bankrupt.” I almost got angry, but he was right. He gave me no specific ideas for shooting, but ten ideas of where to go. Out of these ten, five or six places were very bad, two were excellent and one, fantastic! And it was like that. I kept on working. Nowadays, working has become very difficult.

There are hardly any magazines, and no big magazine is going to send you to a country because everyone has already been there. It’s another world. But there are heaps of specialized magazines that are going to use your archives. And you can make quite a decent living just with those.

But it means you have to build these archives for years. It is a problem for young photographers who are just starting now. Henri Cartier- Bresson, Independence, Jakarta, Indonesia, 1. Magnum Photos. Turner- Seed: Do you know what you want to do next? Cartier- Bresson: This afternoon I would like to draw. I would like to draw much more peacefully and I would like to see other photographers.

It depends. I never plan anything. You see, I feel lonely in a way.

I mustn’t be nostalgic, because, I mean, it was not easy between Capa, Chim, and me. We were utterly different. Memoirs Of A Survivor Movie Watch Online. We didn’t read the same books. Capa was staying up at night and I had to wake him up at ten in the morning. He was borrowing my money without telling me, these kinds of things.

But there was a fundamental unity between us three. Capa was an optimist, Chim a pessimist. Chim was like a chess player or a mathematician. I was impulsive. Turner- Seed: One gets the feeling that you miss them tremendously. Cartier- Bresson: Well, it’s rather strange. I still don’t realize that Capa and Chim are dead. Because in this profession we are gone for a year or two and we don’t see each other.

I understood that Capa was dead when [ten years later] I saw the book Images of War. Before that he was not dead at all, just someone I had not seen for some time. There were not many photographers in Paris in the early 1.

We drank our cafés crèmes at Le Dome in Montparnasse. I was painting in that neighborhood, which was very lively before the war. Henri Cartier- Bresson, Robert Capa and David Seymour, Place du Tertre, Paris, 1.

Magnum Photos. Turner- Seed: Did your friendship with Capa and Chim influence your decision to abandon painting in favor of photography? Cartier- Bresson: Not at all. We never talked about photography. We talked about life. We were thinking about where to go, and sometimes going together. There wasn’t all that silly talk about photography like now.

I never dreamt of talking about all these things. It was only much later, in the 1. The Decisive Moment as a coproduction between Tériade, the great art publisher in France [at Verve], and Simon and Schuster in the United States. Dick Simon came to Europe and said: “We also need a text. And the text should be a ‘how to.’ ” I didn’t insult him, but I got so red in the face that everybody was embarrassed.

And I said: “ ‘How to’—no way!” I got furious and was ready to drop the whole project. And Tériade, putting on his beautiful Greek smile, said: “Well, why don’t you tell why you have been photographing for years and years? What does it all mean for you?” And I said: “Why am I clicking away like this? I don’t know.” “Well, try and find out,” Tériade said.

Marguerite Lang, my collaborator, is going to write down what you say, and then we’ll see.” And then I added: “It’s always good to clarify one’s thinking.” And I put it down practically as it is in the book.