phatnev
Well-known
Robert Doisneau : I had a few problems with the law. It appears that people have rights about their own image, and this often prevents me from catching their spontaneity. So I must stop them and say, "I noticed you while passing by, would you mind kissing again?" That's what happened with the "Hôtel de Ville lovers", they re-enacted their kiss. Those with the grocer were a couple I hired.
What do ya'll think?
Just to make it "M" related
Frank Horvat: It must be said that I was an unconditional follower of Cartier-Bresson. When I first came to Paris, I had the nerve to show him some of my Rolleiflex photos. He exclaimed that if God had wanted us to photograph with a 2 1/4 by 2 1/4 camera, he would have put eyes on our bellies. So I bought a Leica and tried to follow his advice, at least as far as I understood it. But that made me intolerant : for instance I found that your photos had too much anecdote and not enough composition, I only saw the drawbacks of the 2 1/4 by 2 1/4 format, the fact that it made you compose around the centre of the image, while neglecting what happened at the edges . Only much later their real significance dawned on me, and it was like a revelation. From then on, the people in your photos began to exist for me, I knew what they were thinking or going to do. Each of them seemed to emit a ray of energy, and your composition consisted in the interplayof these energies. Of course I should have grasped it much earlier.
What do ya'll think?
Just to make it "M" related
Frank Horvat: It must be said that I was an unconditional follower of Cartier-Bresson. When I first came to Paris, I had the nerve to show him some of my Rolleiflex photos. He exclaimed that if God had wanted us to photograph with a 2 1/4 by 2 1/4 camera, he would have put eyes on our bellies. So I bought a Leica and tried to follow his advice, at least as far as I understood it. But that made me intolerant : for instance I found that your photos had too much anecdote and not enough composition, I only saw the drawbacks of the 2 1/4 by 2 1/4 format, the fact that it made you compose around the centre of the image, while neglecting what happened at the edges . Only much later their real significance dawned on me, and it was like a revelation. From then on, the people in your photos began to exist for me, I knew what they were thinking or going to do. Each of them seemed to emit a ray of energy, and your composition consisted in the interplayof these energies. Of course I should have grasped it much earlier.
