摘要
"对我来说,照相机就是一本写生簿,捕捉即时灵感的工具,你要在瞬间对你所看到的一切提问并做出决定,通过一个有限的取景器向人们解释这个世界发生了什么,这是一种最简单直接的表达,却也需要你集中精力、训练有素、敏感并有几何构图的美感。"
In 1932,when 24-year-old Bresson strolled in the lanes behind the San Razali Railway Station in Paris,cameras on his shoulders,he caught a 'decisive instance'-a man was trying to jump across a small pool of puddle,and the moment his shoes were to reach the water,Bresson pressed the button of the shutter.Undoubtedly,Bresson is the most prominent one among the first generation of the French photographers.Like those who love Paris and almost get integrated with the city, Bresson,with his cameras,has depicted faithfully the pleasure and woes of Paris,allowing us to peer into the vicissitudes of life there in the 1950s.Chirac accredited Bresson as an 'indispensable witness of that era,who was photographing the 20th century with all his enthusiasm and ardor,and recording the human activities and civilizations with a learned eye.'
出处
《大美术》
2005年第5期44-51,125,共9页