A Quote by Henri Cartier-Bresson
...it is seldom indeed that a composition which was poor when the picture was taken can be improved by reshaping it in the dark room.
Related Quotes
Satire is, indeed, the only sort of composition in which the Latin poets whose works have come down to us were not mere imitators of foreign models; and it is therefore the sort of composition in which they have never been excelled.
I seldom think when I take a picture. My eyes and fingers react - click. But first, it's most important to decide on the angle at which your photograph is to be taken.
Each work of art is a collection of signs invented during the picture's execution to suit the needs of their position. Taken out of the composition for which they were created, these signs have no further use.
Composition is the art of arranging in a decorative manner the various elements which the painter uses to express his sentiments. In a picture every separate part will be visible and... everything which has no utility in the picture is for that reason harmful.
The conductor's gift does not always go hand in hand with that of composition; indeed, the union is found much more seldom than is popularly believed.
I started collecting art... simply because I wanted pictures to hang on the wall. I noticed what a difference a picture could make to the ambience of a room, and indeed how shifting work around could change a room's whole feeling.
I'm pretty used to people not liking having their picture taken. I mean, if you do like to have your picture taken, I worry about you.
The sun will soon be setting, and corpses make poor company by night. These were dark and dangerous men, alive. I doubt that death will have improved them.
Composition is a side issue. Its role in my selection of photographs is a negative one at best. By which I mean that the fascination of a photograph is not in its eccentric composition but in what it has to say: its information content. And, on the other hand, composition always also has its own fortuitous rightness.
There are, indeed, few kinds of composition from which an author, however learned or ingenious, can hope a long continuance of fame.
Even a room which must be dark needs at least a crack of light to know how dark it is.
I may juggle the composition, as the strength of a picture is in the composition. Or I may play with the light. But I never interfere with the subject. The subject has to fall into place on its own and, if I don't like it, I don't have to print it
Pedants make a great rout about criticism, as if it were a science of great depth, and required much pains and knowledge--criticism however is only the result of good sense, taste and judgment--three qualities that indeed seldom are found together, and extremely seldom in a pedant, which most critics are.
The picture is all he feels about it, all he thinks worth preserving of it, all he invests it with. If all the qualities which a painter took from the model for his picture were really taken, no person could be painted twice.
In some exquisite critical hints on "Eurythmy," Goethe remarks, "that the best composition in pictures is that which, observing the most delicate laws of harmony, so arranges the objects that they by their position tell their own story." And the rule thus applied to composition in painting applies no less to composition in literature.
Perhaps I could best describe my experience of doing mathematics in terms of entering a dark mansion. You go into the first room and it's dark, completely dark. You stumble around, bumping into the furniture. Gradually, you learn where each piece of furniture is. And finally, after six months or so, you find the light switch and turn it on. Suddenly, it's all illuminated and you can see exactly where you were. Then you enter the next dark room.
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