A Quote by Henri Cartier-Bresson
Think about the photo before and after, never during. The secret is to take your time. You mustn't go too fast. The subject must forget about you. Then, however, you must be very quick.
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... keep practicing. After a great deal of practice, we no longer think about all the necessary movements we must make; they become part of our existence. Before reaching that stage, however, you must practice and repeat. And if that's not enough, you must practice and repeat some more.
Let us take refuge from this world. You can do this in spirit, even if you are kept here in the body. You can at the same time be here and present to the Lord. Your soul must hold fast to him, you must follow after him in your thoughts, you must tread his ways by faith, not in outward show.
You must forget all your theories, all your ideas before the subject. What part of these is really your own will be expressed in your expression of the emotion awakened in you by the subject.
Even now, a year later, people ask me about the Wheelchair Photo: what do I think about it? Does it bother me? The honest answer: I don't think about it. I glanced at the photo once, about a week after the bombing. I knew immediately I never wanted to look at it again.
Think about the photo you want to make beforehand. Then do it, but also don't be blind to better options that present themselves at the location. Be flexible, and be patient. Leave ego at home. Get the photo before you yell at the asshole, not after.
Whenever a warrior decides to do something, he must go all the way, but he must take responsibility for what he does. No matter what he does, he must know first why he is doing it, and then he must proceed with his actions without having doubts or remorse about them.
Before we do, I suggest you take a break. If you need to go to the bathroom, this is a good time. If you're sleepy, go to bed and save the next chapter for tomorrow. For the magician's story, you must have all your wits about you. No wandering minds allowed.
You, that are going to be married, think things can never be done too fast: but we that are old, and know what we are about, must elope methodically, madam.
One of life's primal situations; the game of hide and seek. Oh, the delicious thrill of hiding while the others come looking for you, the delicious terror of being discovered, but what panic when, after a long search, the others abandon you! You mustn't hide too well. You mustn't be too good at the game. The player must never be bigger than the game itself.
Clay Felker was then - he had - to his credit, he had created New York Magazine, which was the first of the city magazines that covered the city and gave all kinds of advice and all that sort of stuff. And there were copies all over the country by the time he left. He had, however, a view of journalism that was very much, I must say, like Tina Brown's at The New Yorker. You hit 'em hard, fast, give 'em something to talk about the day after the paper comes out, as contrasted with William Shawn, who gave them something to talk about two or three years from then.
Evolution goes beyond what went before, but because it must embrace what went before, then its very nature is to transcend and include and thus it has an inherent directionality, a secret impulse, toward increasing depth, increasing intrinsic value, increasing consciousness. In order for evolution to move at all, it must move in those directions-there's no place else for it to go!
I think that every artist dreams of renewing the forms which came before, but I think very few can be considered to have achieved that. We are all dwarves standing upon the shoulders of the giants who preceded us, and I think we must never forget that. After all, even iconoclasts only exist with respect to that which they destroy.
If you go to bed at night and think about your day and you haven't laughed very much, then you must jump out of bed and go do something fun.
An artist must first of all respond to his subject, he must be filled with emotion toward that subject and then he must make his technique so sincere, so translucent that it may be forgotten, the value of the subject shining through it.
You must be a deeply anxiety-ridden person, otherwise chain-smoking is not possible; chain-smoking is a by-product. You must be so concerned about a thousand and one disturbances inside, you must be carrying such a big load of worries on your heart, on your chest, that you don't even know how to forget them. You don't know how to drop them - smoking at least helps you to forget about them.
If fact were enough, you could take a photo of the subject. Unlike the sensitive observer, however, the camera never selects or comments, never adds or subtracts.
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