When discussing photography and photojournalism, the late artist/photographer Henri Cartier-Bresson (August 1908-August 1004) is generally mentioned, for he is the father of the visual concept of the "decisive moment." In this the centenary year of his birth, it is no doubt important to revisit his groundbreaking theoretical position on what takes a photograph beyond the ordinary into the realm of the classic or extraordinary. 

Practically, the discussion began with the publication of his book in 1952, "Images a la Sauvette." or the English title captured on the cover in a decorative script font, "The Decisive Moment." The cover of the volume, designed by artist Henri Matisse, is white with a rather playful sprinkling of that visionary's characteristic cutouts, in black, green and blue. Inside, Cartier-Bresson added to the growing body of visual-centered theory with his preface in which he set out the groundwork for the images that followed. His point of perspective is an homage to a much earlier text.  a work of historic court memoirs  by John Francis Paul de Gondi, Cardinal de Retz, the translation of which is "... there is nothing to this world that does not have a decisive moment."

A complicated man by all accounts, Cartier-Bresson did not like to have his own image captured, though for decades he made his way through the world capturing the images of others. To learn more, I give you the following link: http://video.google.com/videoplay?docid=-4074157481455007235, to journalist Charlie Rose's interview with the man in July 2000. Before the interview with Cartier-Bresson begins, the late Richard Avedon, himself a photographer of note, sits with Rose and likens Cartier-Bresson to Tolstoy, saying, "I am absolutely in awe of him." 

In the interview, Cartier Bresson says, "The camera is a way of drawing." "I don't consider myself a photographer ... I'm just a human being.". For him composition is a combination of shape and geometry and a 50 mm lens that closely approximates what the human eye sees. And no cropping.The "moment" changes from second to second and that affects the photographic process. Painting in color yes, this is fine, but his photographs are all in black and white.   "I know when to shoot,"  he tells Rose, adding that taking a photograph must "give satisfaction to your eye." Walker Evans and Andre Kertesz, David "Chim" Seymour and Robert Capa were inspirations and colleagues. Jean Renoir hired him. Cartier-Bresson calls Renoir "a  giant' and labels himself an "anarchist."    

A Magnum founder and member of that organization from 1947 until his death, Cartier-Bresson is quoted on its website: "To take a photograph is to align the head, the eye and the heart. It's a way of life." ... "For me the camera is a sketch book, an instrument of intuition and spontaneity, the master of the instant which, in visual terms, questions and decides simultaneously. ... It is by economy of means that one arrives at simplicity of expression."  For a look at his photography, go to: http://www.magnumphotos.com/Archive/C.aspx?VP=XSpecific_MAG.PhotographerDetail_VPage&l1=0&pid=2K7O3R14T1LX&nm=Henri%20Cartier%20-%20Bresson