On November 25, 1948, Henri Cartier-Bresson receives an assignment from Life magazine to report on the “last days of Beijing” before the arrival of the Maoists troops. He went there for two weeks, and remained ten months, mainly around Shanghai, attending the fall of the town of Nanjing held by the Kuomintang, then forced to stay in Shanghai under communist control for 4 months, and leaving China a few days before the proclamation of the People’s Republic of China, October 1, 1949.
For L’Italia di Magnum. Da Henri Cartier-Bresson a Paolo Pellegrin, an exhibition currently on view at CAMERA – Centro Italiano per la Fotografia, in Torino, twenty photographers have been called upon to recount events, great and small, through Italian figures and localities from the post-war years right up to the present day, in a blend of famous and less familiar photographs, of places known throughout the world and of ordinary citizens who make up the social and visual fabric of Italia.
This collection of work provides the ultimate retrospective look at a lifetime’s achievement. It includes the first photographs taken by Henri Cartier-Bresson, some of which have never been published, rarely seen work from all periods of his life, and a generous selection of classic photographs that have become icons of the medium.
You can watch the "Pen, Brush and Camera" full length documentary (1998) about Henri Cartier-Bresson on YouTube: Related posts: Henri Cartier-Bresson: “The Impassioned Eye” documentary Remembering Henri Cartier-Bresson Henri Cartier-Bresson: The Modern Ce
That’s a wonderful thing with a camera. It jumps out of you. I’m extremely impulsive. Terribly. It’s really a pain in the neck for my friends and family. I’m a bunch of nerves. But I take advantage of it in photography. I never think. I set, quick! I hit!
Next day early morning we took an auto rickshaw to the city centre. Suddenly he was a different person. While we passed through the narrow streets into alley ways, and from bazaars into crowded markets, he made himself as inconspicuous as possible, the entire time shooting pictures. He carried no shoulder-bags so that he could move very freely in the crowded areas. He never wore his camera around his neck like most photographers do. Instead, if he was not taking pictures even for a short period of time, he covered his little Leica with a handkerchief and kept walking and looking for interesting situations to photograph. Once he noticed something he liked, he disappeared so fast I had to look for him. Just when I locked on to him, he was gone again. He walked so fast that by the time someone knew that they had been photographed, he was gone.
Henri Cartier-Bresson died seven years ago on August 3rd, 2004. Here is an old interview he gave to Charlie Rose: Via Aphotostudent Related posts: Leica Photographers: Henri Cartier-Bresson, “The Decisive Moment” (video) Henri Cartier-Bresson: The Modern
The Shooting Gallery, a tumblr featuring videos about photographers. The videos are divided into two categories: photographers talking and photographers shooting. There are 14 pages of archives to the blog, in which you’ll find videos about the likes of Richard Prince, Donald Weber, Henri Cartier-Bresson, Jeff Mermelstein, Stephen Shore, Terry Richardson, Juergen Teller, Cindy Sherman, Ryan McGinley, William Eggleston (including this ridiculous interview on the Today Show), and many others.
Since arriving in Libya, I have tried to understand the situation. People swap facts, predictions and rumors, but the complexity of the conflict makes it impossible to fully comprehend. Once a picture is taken or a word is written it is already old news. There seems to be no way to catch up, as the database of history is filed before it is processed. And as a result I have become more confused. But I can attest to one reality, shown in these photographs. They form a loose record of my experience during the war in Libya.