Is Henri Cartier-Bressons’ approach of ‘The Decisive Moment’ as applicable today with contemporary digital photography? Fig 1. Van Hijn, R. (1633). The Storm on the Sea of Galilee . [Oil on Canvas] Not Known: Not Known. Fig 2. Cartier-Bresson, H. (1932). Behind the Gare St. Lazare. [Gelatin silver print, printed 1950s] New York: Museum of Modern Art. Fig 3. Burri, R. (1960). Ministry of Health. [Vintage Gelatine Silver] Rio de Janerio: Magnum. Fig 4. de Duve, T. (1978). Time Exposure and Snapshot: The Photograph as Paradox. October, 5, p.113. In 1952, French-born Henri Cartier-Bresson released what would become one of the most famous photography books of the 20th Century and with it the idea of the ‘Decisive Moment.’ In the book’s philosophical preface Cartier-Bresson referred to the text of 17th century Cardinal De Retz "There is nothing in this world that does not have a decisive moment.” Bresson considered this towards his photographic approach and said, "To me, photography is the simultaneous recognition, in a fraction of a second, of the significance of an event as well as of a precise organisation of forms which give that event its proper expression.” [Cartier-Bresson, Matisse, and Tériade, 1952]. Alludes to an idea of single moments created due to the world around a photographer and their unique vision is coming together to create a decisive moment that only a split second photograph captures and presents for us to see. Compared with the further world of visual art it is clear to see this ‘moment’ alludes to in numerous works, for example, Rembrandt’s The Storm on the Sea of Galilee [Van Hijn, 1633]. It depicts a boat on the precipice of a wave, not on the trough or the way down but at the apex of the wave showing the exact moment of disaster. Comparing this process and photography it creates a methodical and slow approach, that allows the artist to balance both consciousness and unconsciousness: knowledge and intuiting respectively [Sarinana, 2013]. It is the coming together of these elements that create the decisive moment, and how it is a balance of control and uncontrollable elements. Modern digital photography is both continuing and changing through new ways of working, processing and sharing images as opposed to that of film photography, which leads to the consideration of the decisive moment being as applicable today as it was during the 19th century. ‘What the eye does is to find and focus on the particular subject within the mass of reality; what the camera does is simply to register upon film the decision made by the eye.’ [Fotografia Magazine, 2014] Henri Cartier-Bresson considered the camera to be a tool while the decisive moment is a connection between the conscious and subconscious abilities of the photographer. Sarinana [Sarinana, 2013] explains how motor Fig 1. Can Hijn, 1633
Transcript
Is Henri Cartier-Bressons’ approach of ‘The Decisive Moment’ as
applicable today with contemporary digital photography?
Fig 1. Van Hijn, R. (1633). The Storm on the Sea of Galilee. [Oil on Canvas] Not Known:
Not Known.
Fig 2. Cartier-Bresson, H. (1932). Behind the Gare St. Lazare. [Gelatin silver print,
printed 1950s] New York: Museum of Modern Art.
Fig 3. Burri, R. (1960). Ministry of Health. [Vintage Gelatine Silver] Rio de Janerio:
Magnum.
Fig 4. de Duve, T. (1978). Time Exposure and Snapshot: The Photograph as Paradox.
October, 5, p.113.
In 1952, French-born Henri Cartier-Bresson released what would become one of the most famous photography books of the 20th Century and with it the idea of the ‘Decisive Moment.’ In the book’s philosophical preface Cartier-Bresson referred to the text of 17th century Cardinal De Retz "There is nothing in this world that does not have a decisive moment.” Bresson considered this towards his photographic approach and said, "To me, photography is the simultaneous recognition, in a fraction of a second, of the significance of an event as well as of a precise organisation of forms which give that event its proper expression.” [Cartier-Bresson, Matisse, and Tériade, 1952]. Alludes to an idea of single moments created due to the world around a photographer and their unique vision is coming together to create a decisive moment that only a split second photograph captures and presents for us to see. Compared with the further world of visual art it is clear to see this ‘moment’ alludes to in numerous works, for example, Rembrandt’s The Storm on the Sea of Galilee [Van Hijn, 1633]. It depicts a boat on the precipice of a wave, not on the trough or the way down but at the apex of the wave showing the exact moment of disaster. Comparing this process and photography it creates a methodical and slow approach, that allows the artist to balance both consciousness and unconsciousness: knowledge and intuiting respectively [Sarinana, 2013]. It is the coming together of these elements that create the decisive moment, and how it is a balance of control and uncontrollable elements. Modern digital photography is both continuing and changing through new ways of working, processing and sharing images as opposed to that of film photography, which leads to the consideration of the decisive moment being as applicable today as it was during the 19th century.
‘What the eye does is to find and focus on the particular subject within the mass of reality; what the camera does is simply to register upon film the decision made by the eye.’ [Fotografia Magazine, 2014] Henri Cartier-Bresson considered the camera to be a tool while the decisive moment is a connection between the conscious and subconscious abilities of the photographer. Sarinana [Sarinana, 2013] explains how motor
Fig 1. Can Hijn, 1633
skills develop into unconscious processes. It is this development that allows the photographer to feel and work in a more fluid approach, enabling them to immerse themselves into what is in front. However interestingly it is when one considers these unconscious processes that we develop elements of the Hawthorne Effect, a theory that feeling watched alters our personal decisions, and this may lead to the photographer losing, all be it momentarily that natural ability to visually process unconsciously. All humans treat this ability. However, it is the experience and tenacity of a photographer to train that process to aid their photography. Similarly, as young children learning to see is a balance of unconscious visual processing and the conscious visual awareness we develop as photographers to work in a more unconscious way. Developing and practicing to the point of having the camera as an extension of your person allows the subconscious to develop (the) visual processing [Sarinana, 2013]. It is Bresson's position within history as a photographer that had access to more portable and lightweight cameras, similar to millennial children’s ability with touch screen technology, and that would develop a specific ideology that would have been less conclusive with earlier larger cameras that restrict the photographers ability to react quickly. It is this coming together of technology and personal knowledge that culminated in an idea that perfectly linked both the photographer and their unique ability regardless of style or genre. Henri Cartier-Bresson entirely developed his practice until his intuition formed a practice of its own, allowing him to understand and create the decisive moment. Photographically, the decisive moment creates an approach to image making that critically focuses on the photographers practice and awareness of their surroundings. Joshua Sarinana explains the balance between the subconscious and conscious developing an intuition allows the photographer to consider his approach and what is before them while they visually can assimilate the moment the frame is perfect [Durden, 2012]
A photographer who works with their intuition and conscious self allows them to focus on what is before them, they make-work in a methodical manner that enhances a chosen process, perhaps selecting a place first and waiting for the right focal point to correctly work with the frame. In another method the photographer works quickly, reacting to what is, as Henri Cartier-Bresson perhaps did so with one of his most famous images “Behind the Gare Saint-Lazare’ Bresson's comments on his approach “There was a plank fence around some repairs behind the Gare Saint-Lazare train station. I happened to be peeking through a gap in the fence with my camera at the moment the man jumped [Cough, 2014]” However to consider Cartier-Bresson's underlying practice of consideration and framing it would be right to consider that this was not the open opportunity described.
The image (Fig 2.) beautifully composed with many visual elements that add depth to an otherwise beautiful moment. The picture on the wall of a ballet dancer entirely corroborates the position of the focal point while the anonymous figure in the center at the back mirrors Henri Cartier-Bresson’s position. Thirdly the ladder, of which the man is stepping from visually matches that of the railway station behind the subject. Although not confident the photographer intended it, we must consider that due to the various elements mentioned above that it perhaps wasn't the candid image Henri Cartier-Bresson led us to believe. While in general, the staged image itself is both beautiful and fascinating it wasn't this that Bresson was creating. He may have considered a patient wait and trust in the right situation would present itself compared to an artist like Gregory Crewdson whose use of actors and lighting create a tableau of a nameless American town and its people [Crewdson, 2013].
Film photography is a considerably slower and a more considered method of photography traditionally, due to changing rolls of film every twenty-four to thirty-six exposures, the constant consideration of climate and weather not allowing the photographer to absorb themselves in what is in front of them as much as the more humane digital method. Due to its high cost and slow turnaround, it does not fit in with the majority of modern commercial photography which in turn sees more photographers moving to digital allowing more flexibility and convenience although many still keep up analogue approaches for a personal project and suitable commissions. It is the effect of modern photography and its technological developments that what once was twenty-four/thirty-six exposures is now ten thousand on a memory card. Which is perhaps the strongest arguments for the decisive moment being less relevant? However, it is countered with the final product in some cases of analogue; the desired finished product may be suited to darkroom prints. It is this dilution of output that does not require the photographer’s complete attention and consideration for each press of the shutter and frame available to them, allowing them to make multiple exposures at fractions of seconds thus putting less emphasis on a focused approach that makes the best use of each frame. When one is working with an analogue camera while considering the decisive moment within their approach they may be more focused unfairly on the one-off individual image appearing before them. However, when you think Cartier-Bresson as well as the vast majority of photographers at his time and until digital took hold and inspected their contact sheets it is evident to see that not only are they continuously making images they are refining them with the anticipation of what will fit the composition they have created. Encapsulated in the work of Rene Burri while at the Ministry of Health in Rio de Janeiro; his contact sheets within the Magnum book of Contact Sheets [Lubben, 2011] show an unmistakable desire to photograph this space of light and shadow within a rigid architectural style. You see him working on the composition and camera settings to depict the tones and shades perfectly until the figures positions and body language correctly create and add to the composition and focal elements of the image. Although this also shows a typical street or documentary aspect with the decisive moment, fashion, wildlife, portrait among many other genres of photography can be considered when discussing the decisive moment while its elements clearly can be applicable when considering the respected photographers practices within the fields. Clayton Cubitt examines the decisive moment during the time of Cartier-Bresson to be a subject of performance art, based simply on the advances of the time to allow photographers small handheld cameras. Cubitt's replaces much of what a painter had been doing for centuries, he continues to argue that future generations will lament those decisive moments that were missed due to limitations similar to how we supposedly lament the absence of photographs from pre-photographic eras [Cubitt, 2013]. What I find with these statements is their ill-considered notion of capturing all decisive moments as opposed to the prerogative of the artist to capture what they see before them, as it is their ability and experience to visually comprehend and capture the scene. While naturally photography became complicated with its boundaries paintings Dominque de Font-Reaulx’s Painting and Photography: 1839-1914 [Font-Réaulx, 2012] explains that photography filled a spot left by traditional art in creating accurate depictions of people and places of the time. This she argues left painting the task of its original utilitarian focus however it found itself becoming more experimental and expressionist with movements of cubism, modernism, and pop art to name only a few contemporary art movements affecting the painting. Referring to
Clayton Cubitt’s essay, he almost ends it by reference to the interesting Hawthorne Effect [Wikipedia, 2016], a fascinating study of the reactivity of people when being observed to modify or improve. This effect is apparent in photography on a large scale; everyone is slightly different when in front of a camera lead to many photographers working with people to consider firstly, do you want to achieve the natural state or one that is sometimes slightly or widely different from that natural state once aware of the camera. When considered with the idea of the decisive moment the subject’s change when aware of the camera may alter the photographer’s initial intuition of that image. It is also considered by photographers, to be a constant observer of their practice in a way to remind them to change their approach in response to the idea. I find this to be a very counterintuitive consideration for photographic practice and although it is always best to consider graphic elements when working it is similar in consideration to the rule of thirds in that it is not to always to be taken literally and may be altered and ignored if the artist so chooses. I find Clayton Cubitt’s approach to be very rigid, not allowing the photographer's prerogative to decide on how to produce and use the decisive moment.
In modern digital photography, a practitioner is working within a world of unrivalled output. From Facebook’s conception in 2004 to 2012 an estimated 100 billion photographs had been shared. Naturally the overwhelmingly vast majority are not applicable to this study, it is still numbers that are beyond our comprehension. In an industry that is diluted with both artists and image makers who are consistently pushed to creating high-quality work at times of challenging and devaluing market. Sean O’Hagan wrote of the ever-changing art world and more specifically photography's role within it, he noted of the constant move towards digital photography as with music and printed matter [Hagan, 2012]. In the last five years, we have seen an a revival in both in analogue photography and vinyl music respectively in what some are referring to as the ‘post-digital’ [Snodgrass, 2014]. It is due to the nostalgic and overall quality elements the user is trying to both enjoy and utilise. When considering the practice of contemporary photography and not just in the commercial sense the decisive moment is becoming more of a constant moment according to Clayton Cubitt [Cubitt, 2013]. He considers the use of Google Glass and another state of the art technologies that allow a photographer to capture images without the necessity of being there, enabling them to review their work at a later date. He gives an interesting example of a street photographer using multiple iPhone camera units planted across a closed area capturing images sporadically. Although this in itself makes for an exciting project it does not consider the decisive moments essential element of the camera and the photographers eye and head working together to capture a moment of note. It is this coming together of unconnected elements with what was mentioned before about the intuition of a photographer to assimilate visually what is before them in cohesion with the camera. Cubitt’s idea of completely detaching the photographer from the image taking detracts from them skill and focus required to both develop as a photographer and to have an accurate understanding of what is the meaning of the visual elements and composition.
The writings of Rich Cutler, Photography, and time: decoding the decisive moment examine the photographic decisive moment, concentrating principally on its relationship with time and space [Cutler, 2012] this text critically looks at two critical texts by Thierry de Duve and Peter Wollen. Firstly, Peter Wollen’ Fire and Ice [Wollen, 1984] considers both photography and film against one another comparing them both to ice and fire, respectively. When discussing photography, he comments that the photographs cannot be a narrative, however as an element to a story. Perfectly corresponds with the decisive moment, however in this instance, the image itself does not complete the narrative, as perhaps it would be desired. The fact he considers multiple genres of photography, for example, documentary, news, and art further elaborate that the decisive moment, when considered, is applicable yet unique within each genre of photography.
The critical text by Thierry de Duve [de Duve, 1978] sets out what a photograph may be. The table within the writing depicts the conditions, difference and similarities with singular ‘abrupt artifact’ images and the more genetic evidence ‘Time Exposure’. At the basis of the decisive moment, it would be widely considered that the picture is based on an event, a singular moment or collection of unconnected moments creating a composition. It would be this that fits into de Duves’ ‘Snapshot’ and it is this that explains the connection apparent with the viewer of the picture compared to other images. Interestingly though Rich Cutler argues that the visual elements created in a decisive moment manner are defined by their pictorial composition and thus transcend the boundaries of Thierry de Duve theory of separate ‘snapshot’ and ‘time exposure’ photographs. While it is this cross over between de Duves’ approach that gives could explain the decisive moments effectiveness on the viewer. The ability for an image to be both thoughtful yet chaotic, amongst
other things, creates an attractiveness that captivates an audience. It is this argument from Cutler, the consideration of the decisive moment to not be a controlled process and outcome allows for it to become more or less depending on the photographer and the image or images.
When returning to the question, is Henri Cartier-Bresson's idea of the decisive moment as applicable in contemporary photography as it was with analogue. The texts vary in their approach, and this further depicts a depth of which this can be analysed. Considering both the psychological elements that initiate and form the basis of each artist's understanding of the decisive moment and the formation of an individuals practice and focus. Alongside this Peter Wollen' notion of the narratives effect compared to Thierry de Duve visual study gives way to varied approaches to a single idea this thoroughly shows its multifaceted application on photography. While these texts, along with Cutler and Sarinana create a complex picture of the decisive moment. While in places they contradict each other, for example, Wollen and de Duve, with a visual focus on narrative and a psychological element, respectively. When also the consideration of the brain's role in the decisive moment it is clear to see the importance of individuality in understanding what it means to different people.
This research has led me to the understanding, both personally and through the texts of an idea (the decisive moment) being entirely subjective to both artist and viewer. Wollen states that different genres of photography have different notions of the ‘moment’, and I feel it is this basis that considered with the understanding that each photographer experiences, intuition, and desires allow them to see the decisive moment where they see it as opposed to a controlled process. This enabled the decisive moment to change continuously and adapt to digital processes and puts the focus, not on the rules of photographic theory but the photographers own eye.
Is Henri Cartier-Bresson's approach of ‘The Decisive Moment’ as applicable today with contemporary digital photography? It is as applicable as it has ever been, the notion of analogue and digital, while they are constitutional changes at the core of photography do not alter the real basis of what the Decisive Moment is, an idea. It is a concept that transcends all technological difference and focuses firmly on the photographer, their ability to comprehend their consciousness, intuition, to visually process, and their understanding personally of what the decisive moment is.
Reference:
Cartier-Bresson, H., Matisse, H. and Tériade, E. (1952). The decisive moment. New
York: Published ... by Simon and Schuster in collaboration with Éditions Verve of Paris.
Crewdson, G. (2013). Artist | White Cube. [online] Whitecube.com. Available at:
