[Leica] Bull

[buzz.hausner at verizon.net (Buzz Hausner)]

Again, Tim, I just do not see any of this as a problem.  I am familiar
with most of Henri-Cartier Bresson's writings and the writing about him,
and nowhere do I recall anyone citing this image as "the "ultimate"
decisive moment photograph, caught by the master photographer..."  Maybe
some people WANT it to be that, but your analysis is completely beside
the point.  Regardless of HOW it was taken, "Behind the Gare
Saint-Lazar" is a magnificent photograph; You should stop trying to lard
additional values onto the picture, even if you are disappointed by the
Master's technique.  The mythology and mystique of this photograph
reside entirely within the eyes of beholders.

	Buzz Hausner

-----Original Message-----
From: lug-bounces+buzz.hausner=verizon.net@leica-users.org
[mailto:lug-bounces+buzz.hausner=verizon.net@leica-users.org] On Behalf
Of Tim Atherton
Sent: Tuesday, May 25, 2004 11:03 PM
To: Leica Users Group
Subject: RE: [Leica] Bull


> I HAVE seen the contact sheet in question.
> As I recall it was about 18 shots of HCB covering the jumper from
> a variety
> of angles as the jumper did different takes.
> Pretty much what I would do in the same situation if the kid was up to
it.
> Not that anyone's asking me.
> Are people looking for some kind of ultimate truth when looking at
HCB's
> prints? I don?t think that is the first thing on their minds.
> Me I'm looking for beauty.

The problem comes when this image is cited as the "ultimate" decisive
moment
photograph, caught by the master photographer/photographic predator
prowling
the streets of Paris, leica in hand - he happens upon a gap in the fence
by
the railway station and as he glances through his eye takes in the
puddle,
the poster and with the hand eye brain coordination of a Zen archer ,
catching the movement of a pedestrian from the corner of his eye raises
his
trusty rangefinder camera, already prefocussed, correct exposure set and
catches forever that one fleeting moment through the small gap, frozen
in a
fraction of a second, while the reality itself passes on and is gone.

The mythology of the picture is often made out to be the coming together
of
all those elements, almost mystically, before the cameras lens in an act
of
virutosic photogrpahic seeing.

That is what this photograph is so often sold as, when it would appear
to be
nothing of the sort. Still an elegant, ephemeral caught vision - yes,
quite
beautiful - but of a different sort.

tim