You can find more fascinating New York Times obituaries, year round, here and on our Twitter feed. Petraeus whom from our archives they would dine with, and why. And we asked Anderson Cooper, Cory Booker, Dominique Dawes, Tom Brokaw and David H. We relived the first steps on the moon and the speech that divided India and Pakistan. We mingled with criminals, leaders, protesters, artists and athletes, many who forever changed their professions. We heard the echoes of shots that reverberated in America and around the world. We wandered back into a fatal Alaskan odyssey and over the rainbow. Thanks for joining us this summer as we revisited some of the 200,000 memorable lives featured in The New York Times’s archive. Read the review “A Photographer Whose Beat Was the World” Read the obituary “Henri Cartier-Bresson, Artist Who Used Lens, Dies at 95” Which raises questions on this anniversary of Cartier-Bresson’s death: Do these changes make a master’s carefully constructed images irrelevant? Or are they even more instructive today? Respond on Twitter using the hashtag #tellnyt. With a smart phone, everyone is a photographer, and images compete for crowd approval on social media channels like Instagram, Snapchat and Facebook. They arrive instantaneously on our phones every day from every corner of the world and from all kinds of people. Photographs are no longer rare artifacts, nor primarily a means of learning about the exotic or unknown. Technological advances in cameras and methods of distribution have heralded in a new visual era, not unlike what Cartier-Bresson’s Leica did almost a century ago. Photographers and their images now move at a pace as fast as the events swirling around them. With the primacy of digital photography and social media in the 21st century, slow, painstaking image-making is becoming a relic. Sunday on the banks of the river Marne taken in 1938. Cartier-Bresson took photographs at the rate of only about four an hour.” Photo The director Louis Malle remembered that, despite all the turmoil at the peak of the student protests in Paris in May 1968, Mr. “(Sometimes he even masked the shiny metal parts of his camera with black tape.) They also admired his coolness under pressure. “Photographers and others who saw him work talked about his swift and nimble ability to snap a picture undetected,” he wrote.
3 - the critic Michael Kimmelman noted that Cartier-Bresson was equally adept at responding instantly to changing circumstance.
In his obituary in The New York Times in 2004 - Cartier-Bresson had died on Aug. His signature shooting technique was to find a visually arresting setting for a photograph and then patiently wait for that decisive moment to unfurl. They stood as rigorous compositions on their own. Though he often focused on the human condition in his photographs, Cartier-Besson would often look at his contact sheets or prints upside down to judge the images separate from any social content. Henri Cartier-Bresson/Magnum Photos, courtesy Fondation Henri Cartier-Bresson A street scene in the southern French town of Hyères in 1932.
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