HENRI CARTIER-BRESSON: “Words by Henri Cartier-Bresson” (1973)

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…enting is extremely dull and journalism…I’m a very bad reporter and a photojournalist. Capa told me when I had an exhibition at the museum of Modern Art in ’46, he said no, he’d be very careful. You mustn’t have a label of a surrealist photographer. All my training was surrealism. I still feel very close to a surrealist but he said if you were labelled as a surrealist photographer you won’t go any further you won’t have an assignment …

HENRI CARTIER-BRESSON: “Words by Henri Cartier-Bresson” (1973)

INTERVIEW: “An Interview with Arnold Newman”

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… in the Museum of Modern Art and many other museums and I just realized the effort was too great and besides I got interested in the young lady who’s on the other telephone. (His wife was listening in on the interview – Ed.) That was a few years ago. We are married 55 years. It’s temporary. You should be as happy as we are. Artist Jackson Pollock AC: Who was your favorite to photograph? AN: There were two. Particularly Kennedy. Because I be…

INTERVIEW: “An Interview with Arnold Newman”

INTERVIEW: “Interview with Julius Shulman” (1990)

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INTERVIEW: “Interview with Julius Shulman” (1990)

RICHARD AVEDON: “Listening to Avedon” (1995)

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…portrait sessions. Everything in his style, from lighting to white backdrop, serves to limit the variables of the portraits, making control that much easier. No matter how simple it looks, the apparatus of control – the editors. the retouchers, the assistants, the lights, the backdrop, the studio. the shutter release in his hand – is always there with him, the photographic equivalent of a power structure. When he insists on control, h…

RICHARD AVEDON: “Listening to Avedon” (1995)

 
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