I want to share some practical tips, insights, and thoughts on how to better capture the decisive moment- by predicting it before-hand. First of all, capturing the right moment in street photography is the difference between a mediocre and a great photo. Timing is everything.
Not just street photography, but life. You need to have good timing when starting a business, when investing in stocks, when asking someone out on a date, and when to shoot.
- We are looking for a complex decisive moment and scene - We need a content who tell a story or a scene where people are in interaction - Form, light and content should support one another The photo should depict people in public places. This is not limited to the streets (or people) or even restricted to outdoors. This group is curated The Decisive Moment. 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. This famous formulation of the essence of photography can be found in the introduction to Cartier-Bresson's book 'The A decisive moment for Rahul Rahul Vaidya gets ready for the water wheel stunt. However, he will need to perform it to the best of his capabilities as he faces the threat of elimination
What I mean to say is that when you see people doing certain hand-gestures, they tend to repeat it. You might see him from 20 feet away, and you try to sneakily walk close to him to take a photo. And the second you are about to bring up your camera, he stops smoking. This also happens with couples kissing in public.
Often, couples kiss more than once in the streets. If you spot a couple kissing, hang around them for a little bit, and wait - I can guarantee they will kiss again.
And at that moment, you want to be ready. One practical tip is learn the pace at which people walk. If you notice closely how fast or slowly people walk, you can predict that in about 10 seconds, your subject will be in the right spot at the right time.
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You can do this in several ways. Another tip: you can stand at an intersection, and look at the left side of the street and the right side of the street.
See how quickly or slowly people are walking, and at what moment they will intersect. At that moment you want to be ready, to capture that shot. If you want to learn how to quickly shoot street photography and capture the ideal composition, you need to learn your focal length by heart.
You need to know what your framing looks like before you bring up your camera to your eye.
HENRI CARTIER-BRESSON :: THE DECISIVE MOMENT
I know the 35mm by heart, I can frame a scene with a 35mm before even lifting the camera to my eye. I see the beauty of life. I want to capture that moment and share it with others.
I either turn off or silence my cell phone, and I just wander the streets with no destination in mind. I keep my options open. I want to reduce any sort of regrets in my street photography.
Sometimes I see an interesting character and I walk by them.
I feel nervous. I then turn back, and approach them and ask for permission to take their portrait. Sometimes they say no; most of the time they say yes. I prefer not to photograph people with their hands by their sides. Rather, I look for people who exude emotion.
Once you miss it, it is gone forever. He held his first exhibition in France at the Pavillon de Marsan in Cartier-Bresson's photography took him to many places, including China, Mexico, Canada, the United States, India, Japan, Portugal and the Soviet Union.
He became the first Western photographer to photograph "freely" in the post-war Soviet Union.
Inon behalf of Voguehe went to Sardinia for about twenty days. There he visited Nuoro, Oliena, Orgosolo Mamoiada Desulo, Orosei, Cala Gonone, Orani hosted by his friend Costantino NivolaSan Leonardo di Siete Fuentes, and Cagliari.
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Cartier-Bresson withdrew as a principal of Magnum which still distributes his photographs in to concentrate on portraiture and landscapes. Inhe was divorced from his first wife of 30 years, Ratna known as "Elie".
Inhe began to turn away from photography and return to his passion for drawing and painting. He admitted that perhaps he had said all he could through photography. He married Magnum photographer Martine Franckthirty years younger than himself, in Cartier-Bresson retired from photography in the early s, and by no longer took pictures other than an occasional private portrait; he said he kept his camera in a safe at his house and rarely took it out.
He returned to drawing, mainly using pencil, pen and ink,  and to painting. He held his first exhibition of drawings at the Carlton Gallery in New York in Cartier-Bresson died in Cereste Alpes-de-Haute-ProvenceFrance  on August 3,aged No cause of death was announced.
He was buried in the local cemetery nearby in Montjustin  and was survived by his wife, Martine Franck, and daughter, Melanie. Cartier-Bresson spent more than three decades on assignment for Life and other journals.
He traveled without bounds, documenting some of the great upheavals of the 20th century - the Spanish Civil Warthe liberation of Paris inthe fall of the Kuomintang in China to the communists, the assassination of Mahatma Gandhi, the May events in Paris, the Berlin Wall.
And along the way he paused to document portraits of CamusPicassoColetteMatissePound and Giacometti. But many of his most renowned photographs, such as Behind the Gare Saint-Lazareare of seemingly unimportant moments of ordinary daily life.
Cartier-Bresson did not like to be photographed and treasured his privacy. Photographs of Cartier-Bresson are scant. When he accepted an honorary degree from Oxford University inhe held a paper in front of his face to avoid being photographed.
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Cartier-Bresson believed that what went on beneath the surface was nobody's business but his own. He did recall that he once confided his innermost secrets to a Paris taxi driver, certain that he would never meet the man again. Inhe created the Henri Cartier-Bresson Foundation in Paris with his wife, the Belgian photographer Martine Franck and his daughter to preserve and share his legacy. Cartier-Bresson's photographs were also influential in the development of cinema verite film.
In particular, he is credited as the inspiration for the National Film Board of Canada 's early work in this genre with its Candid Eye series.
Shooting the Decisive Moment - Ultimate Tips & Examples. 10 COMMENT. "There is a creative fraction of a second when you are taking a picture. Your eye must see a composition or an expression that life itself offers you, and you must know with intuition when to click the camera. That is the moment the photographer is creative," he said A 'decisive moment' can be the second that someone lifts up their hand to shield the sun from their eyes. A 'decisive moment' can be the second that someone jumps over a puddle, when they give you the middle finger, or when they start laughing. Sometimes you can influence the scene and create a decisive moment Hasselblad Award in Henri Cartier-Bresson (French: [ka?tje b??s??]; 22 August - 3 August ) was a French humanist photographer considered a master of candid photography, and an early user of 35 mm film. He pioneered the genre of street photography, and viewed photography as capturing a decisive moment
Cartier-Bresson almost always used a Leica 35 mm rangefinder camera fitted with a normal 50 mm lens, or occasionally a wide-angle lens for landscapes. With fast black and white film and sharp lenses, he was able to photograph events unnoticed.
No longer bound by a 4?5 press camera or a medium format twin-lens reflex camera, miniature-format cameras gave Cartier-Bresson what he called "the velvet hand the hawk's eye.
He never photographed with flash, a practice he saw as "impolite like coming to a concert with a pistol in your hand. He believed in composing his photographs in the viewfinder, not in the darkroom. He showcased this belief by having nearly all his photographs printed only at full-frame and completely free of any cropping or other darkroom manipulation.
Cartier-Bresson worked exclusively in black and white, other than a few experiments in color. He disliked developing or making his own prints  and showed a considerable lack of interest in the process of photography in general, likening photography with the small camera to an "instant drawing".
Constant new discoveries in chemistry and optics are widening considerably our field of action. It is up to us to apply them to our technique, to improve ourselves, but there is a whole group of fetishes which have developed on the subject of technique. Technique is important only insofar as you must master it in order to communicate what you see The camera for us is a tool, not a pretty mechanical toy.
In the precise functioning of the mechanical object perhaps there is an unconscious compensation for the anxieties and uncertainties of daily endeavor.
In any case, people think far too much about techniques and not enough about seeing. He started a tradition of testing new camera lenses by taking photographs of ducks in urban parks. He never published the images but referred to them as 'my only superstition' as he considered it a 'baptism' of the lens.
Cartier-Bresson is regarded as one of the art world's most unassuming personalities.
Although he took many famous portraits, his face was little known to the world at large. This, presumably, helped allow him to work on the street undisturbed. He denied that the term "art" applied to his photographs. Instead, he thought that they were merely his gut reactions to fleeting situations that he had happened upon. In photography, the smallest thing can be a great subject.
The little human detail can become a leitmotiv. Cartier-Bresson was second assistant director to Jean Renoir in for La vie est a nous and Une partie de campagneand in for La Regle du Jeu.
From Wikipedia, the free encyclopedia.
French photographer. Chanteloup-en-BrieFrance. CeresteFrance. Ratna Mohini.
Martine Franck. This section needs additional citations for verification. Please help improve this article by adding citations to reliable sources.
The Decisive moment, or Inspired Moment as I like to call it is when the photographer's eye, heart and mind are in alignment and are all present in one photograph. Basically it's when the whole universe plots a moment where everything is aligned: Composition, Emotion & Thought. It's like everything comes down to a tiny moment where the Decisive Moment Incorporated: Integrated Design Solutions. Decisive Moment is a Toronto-based professional graphic and print design studio serving private and public corporations and not-for-profit organizations with superior creative talent and professionalism
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Ottawa, The Decisive Moment. New York: Simon and Schuster. The Washington Post. Retrieved 4 May Lo sguardo esternoFondazione Banco di Sardegna, Ilisso Edizioni, Encyclopedia of twentieth-century photography. - masala-magazin.com. London: BBC News.
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