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Description
Title: behind the spécialiste de verre
Derivative work based on Henri Cartier-Bresson's "Behind the Gare" - fair use/parody.
Referencing Cartier-Bresson's body of photographic images - based on the "decisive moment" - a split second when a variety of components come together to create a 'unique' image which the photographer suddenly manages to record.
The theory of the "decisive moment" depends on the notion that there exists something pure and essential - a unique essence of something happening which has an inherent quality/beauty/emotion out there ready to be captured.
But what if you don't believe in the concept of a unique essence? What if there's no such thing as an essential quality or purity of a moment existing outside of the photographer's consciousness which can be captured by the camera?
I'm not questioning the contribution made by Cartier-Bresson to photography, but I do question the concept of the "decisive moment" and the common belief in it to the point where it seems 'natural'.
One of the reasons why I enjoy digitally manipulated images is that the medium offers the opportunity to construct and deconstruct images. I wonder to what extent this is a confrontation/challenge to the "decisive moment" ideology? Or will photo manipulation always be seen as an entirely separate and distinct genre of image making?
Derivative work based on Henri Cartier-Bresson's "Behind the Gare" - fair use/parody.
Referencing Cartier-Bresson's body of photographic images - based on the "decisive moment" - a split second when a variety of components come together to create a 'unique' image which the photographer suddenly manages to record.
The theory of the "decisive moment" depends on the notion that there exists something pure and essential - a unique essence of something happening which has an inherent quality/beauty/emotion out there ready to be captured.
But what if you don't believe in the concept of a unique essence? What if there's no such thing as an essential quality or purity of a moment existing outside of the photographer's consciousness which can be captured by the camera?
I'm not questioning the contribution made by Cartier-Bresson to photography, but I do question the concept of the "decisive moment" and the common belief in it to the point where it seems 'natural'.
One of the reasons why I enjoy digitally manipulated images is that the medium offers the opportunity to construct and deconstruct images. I wonder to what extent this is a confrontation/challenge to the "decisive moment" ideology? Or will photo manipulation always be seen as an entirely separate and distinct genre of image making?
Image size
828x560px 220.2 KB
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Comments20
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i love this, it is beautiful. the description leaves one to ponder on so many things again but right now i'm out of words. i might come back and try to put forward some thoughts about 'decisive moment' later or i can just pass over in silence and create my own decisive moment.