I guess I’m just searching now for something… another point of view on the world maybe. This is really confusing for me – to search for something not knowing what it is.

Click on the photo to enlarge.

Nevertheless I keep on shooting and analyzing my work, most of which you will never see here on my blog because I don’t think it is worthy. The photos I included in this post are nice, I like them, but I also think that they are nothing special, just another bunch of seascapes among thousands.

Click on the photo to enlarge.

One of the things that I changed about my photography is that I take much less pictures, and before taking one I stop and think about the composition, about what I want to say with this photograph, what emotions I want my photo to express. And later, when viewing the photo on my computer I try to understand whether I achieved what I wanted or not. Most of the times I don’t.

Click on the photo to enlarge.

Long exposures of the sea and sunsets (just like the one below) simply don’t cut it for me anymore.

Click on the photo to enlarge.

If you have or had similar issues, and have any suggestions, I would be more than happy to hear them.

Browsing the Internet (or a book shop for that matter, it’s just that Internet has infinitely more information) one might get an idea that if he would just read this book or complete that course he would become a better photographer. Others go further than that – they strive to read as much books on photography as they can, attend as much seminars as they can afford, and process god knows how many additional different kinds of educational material on photography.

Part of the courses or books suggest you buy a better equipment, so people get hooked on that, upgrading their cameras as frequently as their purse allows, but not all of them – others try different software products, which promise to make their photos look professional with a click of a mouse, and yet others combine it all together.

Well, guess what – it is all useless. It is useless because deep underneath its shiny cover it suggests no effort on your side. The key to your success as a photographer lies within you. You can only read in books what already exists inside you, and if you do not evolve from within, you will not truly become a better photographer.

If you wholeheartedly want to become better, then at this point you are screaming, if only in your mind, “then how do I do that? How do I evolve from within to become a better photographer?”

I do have an answer for you, but be aware it is not an easy one. It will demand your effort and time… how much effort and time? I have no idea. But it is the only way. If you still want to hear it – read on.

In order to become a better photographer you have to do several things:

- Think. Think about photography. What is it? How it works? Why are you interested in it? And I mean really think, even meditate on it. Look deep inside yourself to answer these questions. Don’t lie to yourself. Write down the answers. After a week do it again, then after a month, a year. You will see that each time your answers will be deeper and more profound.

- Study art. Look at drawings of great artists. Rembrandt, Van Gogh, Dali, Repin, just to name a few. But again, simply looking, flipping through the pages, is not enough. Try to understand WHY these paintings are exquisite works of art. This is very important. Do the same with works of masters of photography – Ansel Adams, Cartier-Bresson, and others. Have in mind that the process of getting to understand and appreciate art doesn’t happen instantly or even quickly for that matter. It can take years…

- Take photos constantly. If you don’t have a camera with you then take them in your mind. But merely taking thousands of photos is not enough. Look at your photos, analyze them. What do you like about them? What would you like to change? When looking at photos from a shoot, pick one that you like the most and think – why do you like it? What would you do differently if you had to make that shot again? Why?

- Save your best photos (the ones that you think are best), come back to them at later times, and remove the ones that you change your opinion about.

- Print your photos (in large format if possible) and hang them on the walls of your living space. Look at them over time and think about how your opinion about them changes. Think about why does that happen.

- Work on your imagination. Create photos in your mind, which not yet exist in reality. Make them so vivid in your mind, as if they were real. These photos are most likely to define your unique style in photography.

- Think about a photo that you would like to create. Imagine it to the smallest detail. Then go ahead and try to create it. Use photoshop as much as you like (or not), I don’t care. Just try to achieve whatever you imagined in the first place. If you feel that you lack some technical skills at this point – Internet most definitely has the answers.

Conclusion

Getting better in photography mainly involves THINKING.  It also involves emotions and feelings, and thinking about why you feel the way that you feel. No course and no tutorial will make you a better photographer, and the first step to becoming one is to understand this fact. To become better you have to dig deep inside you. That photographer is already there waiting to be discovered. On this journey at different points you will see that you want to achieve this or that effect, look, or feel, you will see it clearly in your head, and it will be the right time to go online for technical information on how to achieve it – but this will be only after you already have the image in your mind.

And one more thing – even though this process will require time and effort, have fun! You won’t get better if you don’t enjoy your journey!

Big thanks to everybody who didn’t loose faith in this blog

I had three unforgettable weeks of trekking in Nepal, saw and photographed unbelievably beautiful mountains, and different cultures. More about that in my future posts, in which I will share my photographic experiences and, of course, photographs from my trip. Few of these photos you can already see on my Facebook page:

www.facebook.com/photopathway

Now I would like to go back to the article that I started writing before my vacation, but didn’t have time to finish.

There are different ways to tell a story with a photograph. Photojournalism is one of the most common. There are also various kinds of creative edits. For example, Katerina Lomonosov creates great story-telling works of art, which stir the viewer’s imagination. Landscape photography in addition to showing the beauty of nature can also sometimes tell a story of the photographed place.  Thinking of it, any kind of photography tells a certain story, and this fact is what makes the viewer to look at a good photograph for more than a brief moment.

I don’t remember where I saw this quote: “If you want to tell whether a photograph is good or not, hang it on your office/home wall. If after a week (or so) you’ll still enjoy looking at it, then most of the chances that it possesses artistic value”

A few days before my vacation I was buying food in our local supermarket, and I’ve got the idea to photograph ordinary people that I saw there and to try and tell a story of “people in the supermarket”… you know – to see extraordinary in the ordinary. I used my iPhone to photograph these people because it was be the most discrete way to do it. I wanted to capture them in their most natural environment, doing everyday chores (in this case – shopping).

So when I came home I had a collection of photographs, which I needed to somehow combine into a single photo. After playing with the idea for a while I decided on a collage, and here’s the final result:

Click on the photo to enlarge.

To create this collage I loaded all the photos as layers into a single Photoshop file, and then used layer masks. The most difficult thing was to choose photos for the collage, and then to arrange them. Another problem was the choice of background.

I hope I succeeded to tell a story with this image, but I will let you be the judge of that.

As always, your comments are highly appreciated!

In this post I continue in the same direction but with a slightly different approach – I created a photo album (in PDF file) containing most of the photographs from the 3/1961 issue of “Revue Fotografie”, which I would like to share with as many aspiring photographers as possible by making this PDF file available for free download.

In the photo album I also wrote a foreword article outlining my reasons for creating it. Let me share parts of the foreword here, and make sure you download the album by clicking on the banners above or below.

“… I strongly believe that in order to advance in photographic vision and skills, one has to learn from the masters. Not to copy their work, but to understand what actually good photography is. Looking at good photographs one can begin to understand what do the words ‘photographic vision’ mean, and also to learn how to powerfully express thoughts, feelings, and emotions through a photograph.

Nowadays, one of the most serious problems lying on the path of any aspiring photographer, is the enormous amount of mediocre photographs presented everywhere, making it hard, especially for the beginner, to distinguish between real works of art and a ‘nice wrapping without the stuffing’.

So what am I presenting in this photographic album?

To explain that, first I have to tell you about a photographic magazine “revue Photographie” that was published four times a year in Czechoslovakia between 1950s and 1990s in several languages. Don’t  even try to compare it to most of currently published photography magazines, which are filled with advertisement and “shoot like a pro” articles!

In its early years “revue Photographie” was considered one of the (if not THE) best photo magazines in the world. Founder and editor-in-chief of the magazine during 1950s and 1960s was Václav Jírů, a very talented photographer himself, whose photographs are now being displayed in museums and sold on auctions.

Václav Jírů selected and approved most of the photographs, making the magazine a true work of art. In today’s terms it would be comparable to 1x.com. Of course photographs weren’t the only asset of the revue. The articles too were very educational and informative, dealing not only with questions of photographic techniques but also with more important issues such as:
                                                      – Photography as form of art
                                                      – Moral obligations of the photographer
                                                      – Place of photography among other art forms
and many more.

Even during the time it was published, “revue Photographie” was very sought after, and not easy to acquire, not to say about nowadays.

I got very lucky to lay my hands on one of the issues. It is the third issue of the year 1961, published in Russian. I happen to know Russian so I had an enormous pleasure reading it. One of the articles was simply too good to not share it, so I translated it to English and you will find it on the next page. The photographs, on the other hand, don’t require my translation, and are there for everybody to look at, learn, and appreciate.

In this photographic album I arranged most of the photos from the 3/1961 issue of the revue. I hope that many aspiring photographers will get to see this album, enjoy, and learn from the photographs presented in it.

I will continue my search for other issues of “revue Photographie”, translate its best articles, and put up its photos here, on the pages of my blog… “

Feel free to share this album with anyone who you think can benefit from it, and I would appreciate any feedback regarding this album in the comments section below this post or to my email – greg at photopathway dot com.

In one of my recent articles titled “Wisdom Of Photography” I shared with you, my readers, some of the interesting thoughts about photography that I found in an old photography book. After finishing that book, I continued my search after interesting old photography related material, and I found a magnificent Czech magazine named “Revue Fotografie”, which was published four times a year in the middle of the 20th century (approximately from 1960s to 1990s). This magazine was widely considered to be one of the best photo magazines in the world at the time. It was also translated from Czech to some other languages including German, and Russian. The specific issue that I found was Russian edition of third magazine in 1961.
I can’t even begin to describe how much I was impressed with the articles and photographs presented in this magazine! But as always, I want to share some of the wisdom I learned from it. I am aware of the fact that my blog becomes more and more serious, but after all – it is my path in photography, and it is what it is.
From the magazine, I particularly liked one article. I translated it to English and sharing it here. While reading it, please have in mind that it was written in Czecho-Slovakia in its “Communism” period. I tried to omit as much as possible the parts which are not relevant to our times, but most of the article is as relevant to photography now as it was back then. Along with the translation I am also including a few of the photographs from the pages of the magazine.
I hope you enjoy it as much as I did!

Carel Gibner – ‘An Area’. Click on the photo to enlarge.

Written by Tamara Shevchenko, translated by Greg Brave

About the Attitude Toward One’s Own Artistic Endeavours

One of the most gratifying things in our work as editors of the “revue Fotografie” are the letters from our readers, and whole stacks of them! In these letters many photographers share with us their plans and views on photography. Often they write about their lives, and are being very demanding, as only sincere friends can be, towards the work of our magazine. The sincerity and friendliness of our addressees pleases our editorial staff, and countless praises awakens the desire to devote ourselves even more to our work.

Often, however, warm, friendly, and sincere letters are accompanied by poor, indistinctive, similar to hundreds other, photographs. One couldn’t help not to think about it. Why it is so? Why in such a wealth of different destinies, characters, and points of view, people who pick up cameras, try to reproduce overused themes or to emulate the masterpieces instead of revealing their own true selves?

Here we will not touch on the subject of talent and lack of it. In any case I don’t think the question of talent should be only regarded as a “gift of God”.

L.Fischer, Austria – “Secret”. Click on the photo to enlarge.

As we all know, Leonardo da Vinci was the first to develop laws of perspective for painting. And since then young artists don’t need to wait for “divine intervention” in order to rediscover these laws as they can all be learned from Leonardo. The cultural heritage of humanity is freely available to everybody. Therefore, looking through hundreds of photos, again and again I wonder if the inexpressiveness, impersonal nature, and similarity of them is in reality a hypocrisy and insincerity of the photographer towards himself?
Such an amateur photographer, having read on the front page of our magazine the words “review of artistic photography” immediately decides: “let’s send them photos of trees, water, sunset, or cloudy skies”… and our editorial office receives hundreds of photos of trees, water, sunsets etc. as if these subjects are the true discovery and revelation to the people.

L.Fischer, Austria ‘Curiosity’. Click on the photo to enlarge.

Art arose from the desire of the artist to tell about himself. After all, even when artist speaks about his surroundings, or events that he witnessed, he in fact tells us about himself, about things seen through his own eyes. And magnificent art, which survived its creators, was created by the artist’s ability to see things so originally and so deeply, as nobody saw ever before him.

If a person does not want to talk about himself, he is silent. But if a person is not silent, if he picks up a camera and tries to use photography as an art form because he feels that its means of expression fit him the most of all other forms of art, such person should not be afraid to create his own artistic statement. It is the right and the privilege of any human being of our modern times – to find and acknowledge the meaning of his own life, express it, and strive to live the life of significance, brightness, and excitement, to find one’s self.

A.Zybin – ‘In Art Gallery’. Click on the photo to enlarge.

Of course, one should still photograph trees, waves, and sunsets, but the photographer must be an artist, a person who can see the landscape in his own original way. We are surrounded by a huge variety of things, creatures, and destinies, but we ignore them, hiding behind the undeniable beauty of the generally recognised subjects. In our photographs we avoid expressing the controversial, the unresolved issues within and around us.

We often comfort our self-esteem with the dream of our existence in true art by imitating famous photographs thinking that by doing that we can’t go wrong.

Equally wrong is the way of those who constantly increase the color saturation of their photographs (this can be understood not only directly, but also metaphorically – Greg’s note). This is an evidence to one’s inability to appreciate the beauty of life, to prefer real life’s beauty to the artificial one.

L.Fishcer ‘In А Storm’. Click on the photo to enlarge.

Our editorial office received one curious objection from one of our readers, condemning the photo of patterns created by foam on water, and other such photos in our magazine, which the reader personally didn’t like. From his letter I understood that many years of age separate this person from his childhood, and apparently also from the fresh, lively, and direct perception of the things around him. Childhood memories, though naive, are very profound. In childhood one sees things, so to say, up close (like in macro – Greg’s note). A small blade of grass is visible down to its root, a crack in the pavement is scary because it is deep and unexplored, thick walls of old buildings – what a fertile ground for imagination! These were just a few examples of course.

Yaroslav Parcovsky – ‘Time Walks The Earth’. Click on the photo to enlarge.

Over time a person learns to evade the puddles, not to climb up on every obstacle on his way, not to drag a stick along the fence. And learning manners is generally a good thing. But how many interesting things start to slip away from our attention as we grow up! In true artists many recognize soul of a child. Maybe this “childishness” actually is a profound understanding of things around us, the ability to see them “up close”.

Miroslav Yodas – ‘Construction’. Click on the photo to enlarge.

Therefore isn’t it better to be more curious of things surrounding us, which may even sometimes irritate one’s “untrained” perception, and not condemn them unconditionally just because they are perceived as something not usually shown in photographs?

Yuri Gantman – ‘In The Morning’s Silence’. Click on the photo to enlarge.

My fellow readers, I am glad to meet you here on my blog and in this article in particular! I have to warn you though – the article that you are going to read is by far the most serious and in-depth piece of text I’ve ever written in this blog. So if you don’t feel like going deep into some photography related subjects, feel free to browse my other articles, which are “lighter” and have nice photos to go with the text.

These days I’m reading a book named “The Poetry of Photography”. It is a book by two russian authors Mikhalkovich and Stigneev published in 1989. It talks about different aspects of photography as form of Art, comparing it to pictorial art, and trying to explain various definitions found in photography such as various genres in photography, composition, use and qualities of space in photographs and much much more.
I have to say that I’m really learning so much from it, but it is also very demanding, meaning that I have to think hard about the material presented in the book in order to fully take it in.
While reading, I write down aside the key sentences and concepts offered in the book and continue to think about them. In this article I would like to share some of these concepts. I really tried to translate them from Russian as precise as I could, and I will also provide more explanation for each saying.
Take a deep breath and let’s begin.

1. “Picture is a visual statement. Every statement possesses in itself three kinds of relations. Firstly it relates to the “speaker” (the one who makes the statement), secondly it relates to the depicted subject, and finally it relates to the ones who take it in.”

Basically it means that when you take a photo, first of all it means something to you, since you have a certain idea as to why you took this photo the way it is. Then this photo shows something, a portrait, landscape, still life, as if to say that when you take the photo you see a certain scene (object, person) through your own “filter” of consciousness, but the photo still shows a piece of reality which has a quality of its own. And thirdly this photograph looks “differently” to the viewer because he looks at it through his own “filter”.

To me this is a really profound thought, and having this in mind when photographing helps me to create more meaningful photographs.

2. “The impact of the photograph, the impression of it, lies not within the photograph itself, but within us, the viewers.”

This is a kind of elaboration to a third part of the previous saying. While seeming pretty straight forward, I find it to be deeply profound. You can also look at it this way – the same exact photograph can be very meaningful to one person, while being completely indifferent to another. I think that the best photographs out there are very meaningful to large groups of people.

3. This one is a saying by Siegfried Kracauer (1889-1966, a German-Jewish writer, journalist, sociologist, cultural critic, and film theorist). I tried to translate it as precisely as I could:

“Taking in the material “frozen” and presented by the photograph, the viewer sometimes “hears” the tiny voice of true reality – the “whisper of existence”.”

Here, I think, Kracauer tried to put into words what we feel when we look at a certain photograph and think “This is it! I can feel this! I understand what this photograph is telling me”. Such a photograph can be considered a successful one as it does a good job of depicting a certain piece of reality.

4. Continuing with Kracauer’s sayings:

“And while the reproducing quality of photography has grown to be very accurate, this accuracy itself will not allow the viewer to hear the “whisper of existence”. For this, photograph needs to have figurativeness.”

Basically Kracauer says here that simply snapping a photo of what you see is not enough for the photograph to be expressive, to be “good”. This is still true in our times when photographs are sharp, crisp, with precise colours. You, as a photographer, still have to put in thought and effort when creating a photograph, so it will make an impact on the viewers.

5. “If the subject retains its uniqueness, e.g. the full spectrum of its qualities, when presented in a photograph, then it equals to the real thing.”

This is also a deep thought. I’ll elaborate on it a little. When you take, for example, still life photo. Let’s say a flower in a vase, you have endless possibilities as to how you do it. The lighting, the angle, the background, the vase – everything can be altered. Depending on how you do it you can either create totally “indifferent” photo of just “a flower in a vase”, which won’t reveal any qualities of your subject, and it won’t matter which kind of flower it is, and what vase you used. But you can also create a photo that will vividly present the qualities of this particular flower, which can be accentuated by your choice of lighting (colour, angle etc.), by your choice of vase, and the background. You can add additional elements to the photo to further increase the impact, such as fallen petals. When the viewer looks at such expressive photo, he perceives it as THIS flower, “the real thing”, and not merely an illustration of flower.

I encourage you to think about these sayings and relate them to your photographic experience as it will help you in your PhotoPathway.

As always your thoughts, comments, and suggestions are highly appreciated!

Here’s the talk, I hope you enjoy it:

As always, your thoughts and comments are much appreciated!

Cheers,
Greg

I would like to talk about one such aspect in this post – how this technological advance affected professional photographers. In the old times, when people needed to cover an event, make family portraits, or anything else that had to be photographically documented, they would have to use professional photographer’s services, because there was no other choice. Nowadays, however, in order to save money, many prefer just asking a friend who has photography as a hobby, to drop by and take some shots. Of course, I am not talking here about mass media events, but for example small companies do that when they have all kind of social activities for their employees. When I was working at a high tech company, and they knew that photography is my hobby, they used to ask me to cover various company events and meetings… for free of course. A few years back they’d have to hire a professional photographer to do that.

Family portraits – I think the practice of gathering the whole family together and hiring a pro to shoot family portraits is almost extinct because everybody has a digital camera, and snaps tons of photos all the time, so people think there is no need to spend extra money on a pro.

And one of the most important events – weddings. Even though for many people wedding is an event of utmost importance they still try to cut costs by asking their friends-amateur-photographers to cover it. And even when people hire a professional wedding photographer they look for the cheapest prices, thinking that photography can’t cost “this” much, because it is so easy nowadays. And really good professional photographers have to lower their prices, which in turn affects the quality of their work because they still have to make a living, and now it means doing more work for the same money – thus spending less time on each assignment. I’ve turned down some of my friends requests to shoot their wedding because I don’t feel experienced enough, and it is way too much of a responsibility for  me. I only shot one wedding, for my very close friends and only because they couldn’t afford to pay professional photographer. Doing that I realized that shooting weddings is a hard work!

After being involved in photography for a few years, I can say with confidence – a good photograph is still as hard too create as it was 10, 20, and 30 years ago. I am not talking about ‘color representation’ or ‘correct exposure’ or any other technical aspect for that  matter. I am talking about ‘the photograph’ itself, you know, what it tells the viewer, and how it does that. Powerful, beautiful, tender, exciting, creative, breathtaking photographs are still as rare as they were before. It might not seem like that because you can see many beautiful photos on the internet, but that’s only because internet brought billions of people and many talented photographers among them into one place (the internet).

Lets go back to family portraits – a good family portrait made by professional photographer will capture the family, their feelings, the affection between family members the way that no snapshot ever will. Many years later, looking at that portrait you’ll remember what it was like back then, and it will be a pleasure to look at all your life.

Weddings – there can be no substitute for a good professional photographer. You really want you wedding day to be remembered in all its glory, and no inexperienced amateur can do that. And there are all kind of unexpected things that can happen. For example what if your friend’s camera breaks in the middle of the event? Or his batteries die? What then?

People, remember that good photography is hard to create, and it is a full time job, so don’t try to find the cheapest guy out there, which could mean that he won’t spend enough time on your assignment.

European award winning photographer Magnus Bogucki created a video describing how much time it takes to photograph wedding – from preparation, to the wedding day, to post processing and final wedding album. I highly recommend watching it. You will be surprised how much time it really takes, and how many different activities are required for a successful wedding shoot.

Surprised? I bet you are.

You can also visit Magnus’s website at  www.magnusbogucki.com, he is a really good wedding photographer, and to prove that one of his photos won an award for being among the world’s 50 best wedding photos of year 2010 by Junebug!

So, now what do you think, should people pay professional photographers, or anyone can snap good photos with his digital camera?

Cheers,

Greg.

When I decide to take a photograph of a location, it is usually because I feel some sort of impulse. This impulse comes as a result of the surroundings communicating a certain mood, or association to me. You can say that I am photographing more of a mental image of the scene that I have in my mind at that moment than the actual scene. And consequentially, later when I see the photograph on my computer, it is quite different from my mind’s picture.

I call bringing the two images together “Artistic Interpretation”, and use post processing to achieve that. I constantly feel the need to improve my post processing skills to be able better present my photographic intentions.

In the following two examples, you can see the photographs before and after my artistic interpretation (left photo is before and right photo is after).

It was  evening time, about 40 minutes after the sunset. The darkness came quickly and the sky was cloudy, it  was going to rain any minute. I felt the “pressure” of the coming rain in the air taking this photograph. When I saw the resulting photograph, I felt that this feeling of a close rain and late evening was gone and I had to bring it back. I increased contrast and reduced saturation. I feel that I succeeded in bringing that mood back, but I’ll leave it for you to decide.

Click on the photo to enlarge.

On another occasion I was again walking along the beach. It was a shortly after the sunset, and because it was cloudy, I could barely see the faint remnants of sunlight. The clouds were really beautiful and I couldn’t resist taking a photo. In post processing I increased contrast and added a bit of saturation to the yellow. I also added slight vignetting to concentrate the viewer’s attention on the horizon.

Click on the photo to enlarge.

What do you feel looking at these images? Can you bring your own examples of your artistic interpretation?

As always any comments, suggestions, ideas and anything else you’d like to say are welcome.

Till the next time, take care!

Greg.

One thing to remember though is that Henri Cartier-Bresson was a photojournalist (he is actually considered a father of modern photojournalism), and many of his sayings result from this type of photography.

In this article I am going to present you my favorite Bresson’s sayings “bundled” with his photographs for better impact on you

” To photograph is to hold one’s breath, when all faculties converge to capture fleeting reality. It’s at that precise moment that mastering an image becomes a great physical and intellectual joy. “

The photograph below is a great visualization of this idea. The captured moment was there only for a brief moment with no chance of repeating itself.

“To take photographs means to recognize – simultaneously and within a fraction of a second – both the fact itself and the rigorous organization of visually perceived forms that give it meaning. It is putting one’s head, one’s eye and one’s heart on the same axis.”

Again, the photo below illustrates this saying perfectly. All the elements in it had to be there to get final result. There is nothing redundant in it, all the elements contribute to it creating the final impression.

“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.”

The photo below is a portrait of Henri Matisse shot by Cartier-Bresson, in which you can see two of his (Matisse’s) greatest passions – painting and pigeons. Actually I found an article about Henri Matisse in Wikipedia, but there wasn’t a word about Matisse’s pigeons. Nevertheless I was sure that they must play an important role in his life if Bresson included them in the photograph. So I kept looking for a more elaborate biography of Matisse just to make sure that these pigeons weren’t just a one-time subject of Matisse’s painting. And guess what, I found it – Marguette Bouvier in interview said about Matisse: “Henri-Matisse has a passion for birds. He considers a bird cage as indispensable as a bed in a bedroom…”. In the Matisse’s portrait there are also three bird cages, and now you know why they are there. As you can see there is no meaningless objects in Bresson’s photos.

“Photography is nothing – it’s life that interests me.”

It is also something to be thought of. Photography by itself is nothing really, you don’t photograph just for photography’s sake (at least I don’t). You photograph to express yourself, to show something that caught your attention…

“You are asking me what makes a good picture. For me, it is the harmony between subject and form that leads each one of those elements to its maximum of expression and vigor.”

I don’t know about you, but for me this photo is powerful, and it is such not only due to the look and posture of man on the foreground but also because of the second figure behind him on the right. There is a certain similarity in the way how they look at the camera. One of the thoughts that went through my mind when looking at this photo is that maybe the person behind is the father. Or even in general looking at these two men made me think that when you are young, you are strong, and with age your body looses it’s toughness but your gaze stays the same…

“This recognition, in real life, of a rhythm of surfaces, lines, and values is for me the essence of photography; composition should be a constant of preoccupation, being a simultaneous coalition – an organic coordination of visual elements.”

If you didn’t understand the “rhythm of surfaces, lines … ” part, take a look at the rhythm of trees in the photo below.

“You are asking me what makes a good picture. For me, it is the harmony between subject and form that leads each one of those elements to its maximum of expression and vigor.”

Take a minute to look at the photo below, not just flick through it, and you will see many interesting little details (the gaze of the man standing behind, the little handbag…).

“To me, photography is the simultaneous recognition, in a fraction of a second, of the significance of an event.”

“I believe that, through the act of living, the discovery of oneself is made concurrently with the discovery of the world around us.”

“Thinking should be done before and after, not during photographing. Success depends on the extent of one’s general culture. one’s set of values, one’s clarity of mind one’s vivacity. The thing to be feared most is the artificially contrived, the contrary to life.”

This is a powerful thought. In photojournalism and street photography you have to learn to anticipate how the situation will evolve in order to be in the right place at the right time.

“We photographers deal in things which are continually vanishing, and when they have vanished there is no contrivance on earth can make them come back again. We cannot develop and print a memory.”

Here is another wonderful example of a fleeting moment caught just at the right fraction of a second.

And here is the last quote.

“Photography appears to be an easy activity; in fact it is a varied and ambiguous process in which the only common denominator among its practitioners is in the instrument.”

The more I photograph, go over my photos, and think about photography, the more I understand how difficult good photography really is.

I hope you learned something from Henry Cartier-Bresson’s sayings, and enjoyed the photos I chose to present here.

Any comments as always are much appreciated and,

Remember, you only have to enter your name to leave a comment!

Till the next time, take care!

Greg.