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这么好得话题不是说要置顶吗，怎么沉了？^_^
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所谓的决定性瞬间，即即每一事件都有一个最为关键的时刻，摄影家必须善于捕捉这个瞬间，使其呈现在自己的照片上，成为揭示事物本质的时间点。

布勒松拍摄时，力求用他敏锐的直觉和对构图的精确把握，来抓住场景和人物的精髓。他鄙视刻意安排的照片和人工布景，认为摄影者必须精确、迅速拍照。正是这种对决定性瞬间的追求，让布勒松成为最著名的街头抓拍大师，并被列为世界十大摄影师。

瓦妮莎·罗科 纽约国际摄影中心主任：

布勒松确实对生活有很丰富的感悟

也充满了生活情趣

他用摄影机以一种严肃的方式来表现这一切

你真的能从他的照片中感受到丰富的生命力

很多与人息息相关的画面

你也能看到他广泛的兴趣


http://news.cctv.com/performance/20070125/110782.shtml

这话我爱听

主题先决与临场机遇的完美玉成
这里不需要什么迷信与神话,所谓迷信与神话那也是人为了忽悠人而为之的事儿......

这才是最赋予天才性的思考嘛,哈哈......

残废不会转贴,只会把自己弄明白之后的道理和话语拿出来说给别人听

摄影是个动手性很强的一种活计儿,按快门的时候,你的食指蠢动必须听从于你的大脑指挥,自己做的事情最好是由你自己决定,除非我们的布勒松拿着短剑和手枪顶在你的后腰眼儿上喊着,你给我这么拍,你给我那么拍......

引：
Cartier-Bresson examines the synthesis between knowledge, humanity, technique, form, chance and sheer intuition. The “decisive moment” is when all these elements come together and interact with the subject, thus transcending the everyday and revealing something of the nature of life.

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推荐一篇好文章。

http://www.wsws.org/articles/1999/nov1999/c-b-n05.shtml

Henri Cartier-Bresson: From a higher reality to a respect for reality
By Stuart Nolan and Barbara Slaughter
5 November 1999


Cartier-Bresson's theories of photographic art

In 1952 he was preparing a retrospective book and wrote a number of essays, which have become known as “The Decisive Moment”. Whilst talking to the painter Pierre Bonnard, he took a photograph. Bonnard asked him why he made the shot at that precise moment. Cartier-Bresson replied, “Why did you just put that touch of yellow on your painting?” They both laughed, recognising that they understood each other. Cartier-Bresson adds, “Bonnard said intelligence is necessary and instinct. But finally instinct has a priority on intelligence, and I think this is fundamental. In the present world I think very often this is upside down—a dry conceptual intelligence. Intuition is lost—intuition, sensitivity and imagination.”

The Tête-à-tête exhibition included video footage of Cartier-Bresson at work on the streets of Paris. He moves with great speed, instantly sees, rises on his toes, puts his camera to his eye and click! He was immersed in the act of creation, discovering simple truths through a synthesis of technique, intuition and freedom of thought.

He describes this as “putting one's head, one's eye and one's heart on the same axis. One must seize the moment before it passes, the fleeting gesture, the evanescent smile.... That's why I'm so nervous—it's horrible for my friends—but it's only by maintaining a permanent tension that I can stick to reality.”

The writer Malcolm Brinnin described Cartier-Bresson's physical state during and between these decisive moments. His “eye is polyhedral, like a fly's. Focusing on one thing, he quivers in the imminence of ten others.... When there's nothing in view, he's mute, unapproachable, humming-bird tense.”

Cartier-Bresson examines the synthesis between knowledge, humanity, technique, form, chance and sheer intuition. The “decisive moment” is when all these elements come together and interact with the subject, thus transcending the everyday and revealing something of the nature of life.

The value of his portraits has been debated amongst artists and art critics. Some say they are more like caricatures and do not in the main reveal much about his subject. Others believe they are profound insights into human nature. His “humanistic” approach to his subjects did allow him a glimpse into the nature of his subject. His purpose was to place his camera “between the skin and the shirt of a person” regardless of their social position. This humanism dominated in Stalinist-influenced artistic circles. Did it express a retreat in Cartier-Bresson's cultural and historical understanding; almost a reversal of his earlier views on art, philosophy and history?

During his recent BBC interview, Cartier-Bresson made a point of summing up, at the age of 90, his own artistic outlook. He cites the views of the English philosopher Francis Bacon (1561-1626) that “The contemplation of things as they are, without error or confusion without substitution or imposture is, in its self, a nobler thing than a whole harvest of inventions.” Cartier-Bresson adds, “That is a respect of reality.”

Bacon laid the foundations of the modern approach to scientific research. He accumulated a mass of factual material and, through it, sought insight into the laws of nature. But there is an artificial connection made here between art and science. The artist is not the same as the scientist. The artist cognises the external world through images. Cartier-Bresson's later work gives the distinct impression not of probing the laws of his own artistic vision, but of exploring the world separate from that distinctive vision. Hegel, in his Philosophy of Art describes the "subjective mind" as the "spirit of art".

Does his interpretation of Bacon represent a retreat from artistic truth—an acceptance of reality “as it appears to us”? Cartier-Bresson had believed that the purpose of art was revolutionary, to transform the world. Now he speaks of “things as they are”. It is almost as if the artist has turned from cognising the world to becoming an impassioned recorder of aspects of its appearance. There is a connection here with Cartier-Bresson's interest in Buddhism and the Buddhist approach to nature external to themselves.

From the mid-1970s, he painted and drew pictures and turned away from photography. He recently illustrated a new release of Aragon's The Peasant of Paris. He describes this turn as a kind of “test”, but offers no further explanation. After a lifetime of developing his artistic vision through photography, he now says, “All I care about these days is painting—photography has never been more than a way into painting, a sort of instant drawing.” The problems of his approach to reality are not overcome in his paintings and drawings. It is difficult to explain, but they seem to exude a sense of resignation.

With his return to painting, Cartier-Bresson now comments on the limited potential of photography. This reflects a narrowing of his attitude to photographic art. When young, his photographs unleashed the enormous artistic potential of the camera. Now he describes what he believes to be the “transient” nature of photography, comparing it to the disappearance of the art of stained glass windows after the Middle Ages.

The process that led Cartier-Bresson to abandon photography and return to painting is no doubt complex. Possibly he was motivated by a desire to recapture the freshness, excitement and idealism of his youth. But did it also express a germ of recognition that what had animated his artistic life from the beginning—“the desire to paint and to change the world”—had been ruptured through the experiences he had and the choices he had made throughout his life?

Some of Henri Cartier-Bresson's work may be viewed at these sites:
http://www.ndirect.co.uk/~gormley/master.html

http://artcyclopedia.com/artists/car...son_henri.html

http://www.esinet.net/personal/eric/hcb/home.html

认真学习。

拍摄的真不错，支持了学习了，我也要多拍摄啊