Link: In 1932, a young photographer named Ansel Adams sought to lay down the law: “the artist must have a clear and complete conception of the final effects of the print before he operates the shutter of his lens’’ (Adams’s italics). That same year, a slightly younger photographer, Henri Cartier-Bresson, took what may be the … Continue reading Museum of Modern Art examines the career of Henri Cartier-Bresson – The Boston Globe