What are the skills of Bresson structure?

It would be nice to take enough photos.

Man-machine perfect fit

Henri cartier bresson and his Leica.

Times have changed. It is difficult to find a few people sitting still in the street now, and photography has long deviated from the road of classical aesthetics. Documentary photography is becoming more and more selfish, voyeuristic, exaggerated, dirty and in sharp contrast, so the perspective we use is becoming more and more weird. If your film is not bad enough, old enough and dirty enough, who else will watch it? When Bresson died, his photography idea died decades before him.

Those who have the ability to touch the world with headlines can use any lens.

If you can touch the world gracefully, don't shout at the top of your lungs, "How miserable it is here! Look! " I mean, go to a few shows and watch someone's "Old Bathhouse" series. Good, like the one with Minamata disease.

Of course, this is just out of my own aesthetics?

Although Bresson is called a decisive moment, I dare say that he took more than one picture around that moment, because in World Photography 150 and Bresson: Europe, I saw two photos of the same scene at different times, and the difference was estimated to be within 10 second?

Although photography is formally a process of taking pictures with a camera, what to shoot and what to put in that box depends on your idea. Maybe we can only see a bottle, a pair of shoes, a street sign and a corner in our own aesthetic cultivation (note that I am a little exaggerated, sorry). We think it's beautiful because everyone else has done it. If others do it, I will do it. The collection of impressions of beauty in our minds constitutes the framework of our photography. We don't break through our own aesthetic range, and our photos won't break through, because the camera has no feet, and it won't go and shoot by itself. Specifically, composition and scenery are very important. After reading a lot of photos (including my bad self), either a bottle, a pair of shoes and a book can't go out, or I can't get it back from a wide angle of N kilometers. Photography needs aesthetic cultivation, which sounds sour, but I have to bow my head and admit it when I think about it. What is the most expensive thing in photography? Camera? Lens? Movies? Processing fee? No, it's time. If photography takes a lot of time-including making a general plan in advance, knowing and waiting for the weather, choosing the shooting time and place, walking around the scene to observe the position and composition, and even keeping alert to capture the moment-it is basically impossible to take a good photo. I believe that most photographers still want to be praised by others (this is very reasonable and normal), but usually we subconsciously want not to spend time making good films, and we also want to be praised by others. Many times, we will give this process a seemingly beautiful rhetoric: photography is a kind of mood, a kind of randomness, that is, don't be bound, oppose the mainstream, and oppose authority. There are too many specious rhetoric in this world, which we use every day. But for myself, I believe that it is impossible to get involved in literature and art and reach a certain level without making efforts before reaching the edge of boredom. Singers, pianists and calligraphers all work hard and may not have achieved anything yet. How did photography become different? Of course, on the other hand, easy public photography is always the right of the public. We can't say that you won't take pictures if you don't work hard. No, I definitely didn't mean that. Please understand. Besides, there are many talented people in this world. Of course, we can rule out that talented people are not serious. They are Mozart, so we can't take it as a theory.

More specifically, back to the problem of 50mm composition. We may really not be limited to walking in the street. Maybe go upstairs and look down. We have to wait for the complicated past and find a simpler order. Maybe we have no building to go up, no angle to see, no simple order to wait for. That can only be a pity. Photography has many regrets and there is no way.

The positive circulation of the public self will "promote" the development of the master into a bigger master. So it will be famous, but it is hard to meet. For example, Master XXX (sorry, I have a bad memory) just took a picture of Pinghai with nothing, and took it many times. What do you mean by silence?

But one thing, the so-called master still injects some so-called artistic ideas into it, and the works at least don't exclude all the meanings at a glance. As for understanding, that is the reader's second play. Ordinary photos are meaningless because there is no chance to understand different meanings.

The landlord lives in Shanghai. Maybe Shanghai is too crowded and you want to retreat, but behind it is a wall or a road. So you made an excuse to change it to 35mm. In fact, the situation may change with the change of 35mm, but there is no fundamental change.

The reason may be that I took it with my hands, not my feet or my brain.

Regarding the problem of crowding, in two series of Bresson's filming of the coronation/funeral of King George of England, I think Comrade Bresson, who was filmed in the crowd, must have seen him, right? That slightly exaggerated portrait can only come from a 35mm lens (but I don't think it will be wider). In Spain (? Portugal? There may be similar problems at the wedding.

Bresson only flaunted his decisive moment, but never said that he was a header supporter. Use whatever you need. For example, Japanese people have short legs, so don't be stingy with wide angles.

What is my conclusion?

It's simple: if you shoot to record as many things as possible and don't want to spend more time on photography, you can choose a convenient zoom lens from the beginning and use it for a lifetime. On the other hand, if you want to hone your skills seriously and use the camera as a creative tool, or at least as an expression, you should start with a fixed-focus lens (24, 35 or 50 is ok), use it whenever possible (except those cases where you have to ensure as many shooting opportunities as possible), and carefully understand its characteristics. When you are really familiar with the characteristics of several focal lengths and have developed your own lens sense, it is time to consider using a high-quality zoom head, which is convenient to use. Because at this point you already know how to use it.

Henri Cartier-Bresson, Bresson, probably people who like photography don't know this master photographer.

Before he became a master photographer, he often photographed lovely pets, family and friends, as well as his daily life, just like any friend who just started photography. It was not until one day that he decided to completely liberate his curiosity through photography that he began to gradually accumulate the foundation of many of his famous works.

Talk show host Charlie Rose visited Bresson in Paris and asked her what a good photo composition was. Bresson answered without thinking: geometry.

Bresson's answer is simple, not long. Bresson will take everything before and after the composition into consideration to form the composition he wants, including the subject, background, light and shadow, and most importantly, he will wait for the right moment, the so-called decisive moment. Next, we will see how Bresson used everything he saw through the landscape window to form most of his important works with geometric features.

1. Master-slave relationship

Anyone who has taken photos knows that putting a bright subject on a dark background or a dark subject on a bright back can make you jump out of the background and express the theme you want to highlight, but this does not mean just putting an object in front of the photo or using the so-called lens (that is, the background is pasted like cream). If we regard Bresson's works as vague, then when shooting, you should clearly know what is a master and what is a slave, so that people who appreciate the photos know where to look.

The theme of the photo above is actually pigeons.

In addition to the reference photos, there is a picture below to illustrate the master-slave relationship. The focus of this painting is war. You should have the same reaction when you look at this picture. What kind of painting is this? Where is the theme? But if you look at the analysis chart below, you will know that the painter planted a bunch of spears in the painting. He wants to highlight the theme of war. The so-called master-slave is not only a clear subject and background, but also a clever way to highlight the theme from photos. Usually, the street view is chaotic, and the obvious master-slave relationship becomes more important. Sounds simple, right? Try next time.

Look for similarities

This is a very popular way for street photographers to draw materials. In addition to interesting theme contrast, photographers can also enhance the story in the picture in this way. For example, in the following photo, the mother holding the child was deleted from the picture. Generally, when we see this photo of mother and son, we will be attracted by their expressions and so-called affection. But do you find that the mother's fingers, the child's shriveled ribs, fingers and arms in this photo have a strong echo with the skeleton of the rear carriage wheel? The main body of this photo is bones/bones/bones. The photographer wants to highlight the theme and story of the thin boy's shriveled body. If the photographer takes a picture of the mother's face, the audience will be misled by the key points that the photographer wants to express, and will be attracted by the affection between mother and child. It may be a good story, but what the photographer wants to express is the little boy who is miserable and skinny because of famine.

As mentioned earlier, when shooting in the street, we usually forget the background and focus on the theme in front. There are many lines, shapes and colors on the street. If we can take the background into account when shooting, there will be more possibilities for photos and the composition of our works will be greatly improved.

Make full use of light and shadow

Street photography has an advantage that other photography styles do not have, that is, rich and diverse light sources. Experienced street photographers are good at observing light sources. They make good use of the relationship between light and shadow to highlight the theme. The contrast between light and shade is strong, which can not only highlight the theme in the light, but also strengthen the objects in the shadow. Making good use of light and shadow can enrich the level of photos. When I try this kind of street lamp lighting, there is a way to strengthen the relationship between light and shadow, that is, to minimize the aperture and then measure the light in the bright place, which can make the contrast between the bright place and the dark place stronger.

Learn to wait

When it comes to street photography, most people imagine a photographer walking around the street with a camera, flying around like an eagle, looking for a subject with sharp eyes, but this impression is only half right. In fact, another skill of street photography is to wait like a cheetah, waiting for the right time, waiting for the right time and space, and then pressing the shutter to take a decisive moment.

If you read more of Bresson's works, you will find that he is very good at capturing those moments. How can many photos make people feel so right? Bresson is really lucky, he can capture so many wonderful moments and so on. The The Secret Behind of these wonderful moments is that Bresson knows how to wait for the right person and thing to enter his picture at the right time and place.

Many people are always busy looking for subjects when they start street photography, thinking that street photography is to capture and grab pictures that are easy to miss. In fact, this is only half right. The other half of the skill is to learn to observe carefully and wait patiently to create the picture you want. For example, if you see a very interesting scene, please try to stand there and wait for an interesting person to pass by, observe through the observation window, and then press it quickly at the right time. Street photography is not only to capture pictures, but also to create pictures, and the secret of creating pictures lies in skilled observation and waiting.

Understand the diagonal

In photography teaching, the most commonly heard statement about the proportion of pictures is the golden rule, that is, the picture is cut into three equal parts, and the focus falls on one third. However, this proportion is rarely seen in Bresson's works. The way he cuts the picture is overlapping squares, just like the picture below. The proportion of the whole picture can be cut into two squares, but the middle is overlapping.

If you look at some photos below and try to look at Bresson's works with the cutting method in the schematic diagram above, you will find that most of his works are composed of so-called overlapping squares. In addition to overlapping squares, most of his compositions are also presented diagonally. Try to draw a diagonal line on his photography, for example, from the upper left corner to the lower right corner, and you will find that almost all the subjects fall on this diagonal line. Bresson studied painting, so his composition has a solid foundation.

conclusion

Do you remember that at the beginning of the article, a talk show host Charlie Rose visited Bresson and asked him what a good photo composition was? Bresson answered this question: geometry. In fact, the host then asked another question: Are you born with a talent for photography? Bresson replied: this needs to be cultivated.

Michelangelo once said: If people knew how hard I practiced to master painting skills, they wouldn't be too surprised to see my excellent works.

All skills need to be practiced, including street photography, such as observation, composition, waiting, when to press the shutter, blind shot's focus, integration into the rhythm of the street, and mastering the best aperture under random light sources. These can be strengthened through long-term practice. As mentioned above, Bresson didn't shoot so many classic works at the beginning of photography. He took tens of thousands of photos before he got some amazing works. I remember a street photographer sharing his experience. He said that he might take 10,000 or 20,000 photos a year, but there may be less than ten works that really satisfy him and want to share.

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