Decisive Moment (Fulton Street)

Henri Cartier-Bresson's notion of the "decisive moment" in photography was inspired by words from Cardinal de Retz. Retz's original words are, "Il n'y a rien dans ce monde qui n'ait un moment decisif."  Translated, "There is nothing in this world that does not have a decisive moment."

Here are some of my favorite moments decisively captured by some brilliant photographers:

by Henri Cartier-Bresson

by Henri Cartier-Bresson

The presence of people tends to create a "decisive moment" photograph.  How boring would this picture be without the person blurring by on their bicycle?!

Behind the Gare St. Lazareby Henri Cartier-Bresson

Behind the Gare St. Lazare
by Henri Cartier-Bresson

I'm not sure what is happening here, nor am I sure how deep this water is, but the precision of capturing this moment just before  the man's heel hits the surface of the water is outstanding - not to mention his use of an extremely imprecise camera compared to today's cameras.  This is a perfect example of a "decisive moment."

If you're interested, this is a look through Cartier-Bresson's photobook The Decisive Moment:

Girl in Fulton Streetby Walker Evans

Girl in Fulton Street
by Walker Evans

Girl in Fulton Streetby Walker Evans

Girl in Fulton Street
by Walker Evans

Which "version" do you prefer?

I prefer the image on the right; I think it is more decisive.  I feel like it is taken moments after the image on the left, just after the two men in the foreground stepped out of the shot and the woman just slightly turns her gaze.

by Brassaï

by Brassaï

by Brassaï

by Brassaï

I just love these two photos by Brassaï.  They're not traditional "decisive moment" photos because there is at least one subject in each of them staring right at the camera's lens - right at us.  He was obviously not taking these flash photographs in secret at 2am in dark at somewhat shady bars around Paris.  The subjects seem like direct participants in the capturing of these, or should I say their, moments.  Oh, and the 'kiss curls'...can't beat that.  Those will be back in style in no time.

Woman on the Street with Her Eyes Closedby Diane Arbus

Woman on the Street with Her Eyes Closed
by Diane Arbus

Blinks don't last very long.  People also don't walk down the street with their eyes closed very often.  Was this taken during a blink?  How long did this blink last?  Was the woman standing with here eyes closed, taking in a deep breath of fresh air, before opening them again and continuing her stroll down the street?

Loyalist militiaman at the moment of death, Cerro Muriano, September 5, 1936by Robert Capa

Loyalist militiaman at the moment of death, 
Cerro Muriano, September 5, 1936
by Robert Capa

What could be a more decisive moment for a photographer than watching your subject get shot and ultimately die?  The constant moral dilemma of war photography: take the picture, or save the soldier?

World's Fair, New York
by Garry Winogrand

You must click this picture and see it in its larger form.  Each individual person on this bench has a story, and it's really fun to make up their stories! I wrote a poem inspired by this photo.

Untitledby Garry Winogrand

Untitled
by Garry Winogrand

I will never admit I know what is going on in this photograph, but it is definitely carrying the essence of "decisive moment."

Los Angeles, Californiaby Garry Winogrand

Los Angeles, California
by Garry Winogrand

Oh the shadows!  Plus, the women, the man in the wheelchair, and the child turning to look at it all.  Just wonderful!

Marilyn Monroeby Richard Avedon

Marilyn Monroe
by Richard Avedon

Surprise.  I bet you saw this coming.  I don't think I need to say more about this spectacular portrait than I already have. ;-)  My FAVORITE decisive moment.

See Richard Avedon's Marilyn Monroe and Today I Asked Why.

Meudonby André Kertész

Meudon
by André Kertész

The photograph on the far right is the one truly titled Meudon. I wasn't a huge fan of this picture when I first saw it, but I became a fan when I saw this sequence of shots. Meudon is the perfect example of a decisive moment. Here's the photograph alone:

Meudonby André Kertész

Meudon
by André Kertész

I will end the photographs with this:

Greta Garboby Edward Steichen

Greta Garbo
by Edward Steichen

At first glance, this looks like a simple portrait - not a decisive moment.  But, according to my History of Photography professor, during this photoshoot, both Greta and Edward were getting a little bit frustrated. Greta leaned on the backside of a chair with a "my hair is driving me crazy!" gesture pulling back her hair and resting her elbows on the back of the chair. *snap* Decisive moment. Beautiful.

Some of Life's Decisive Moments:

Saying "I love you" for the first time...and waiting for him to say something (anything!) back.
Just some personal experience speaking here.

What's wrong?"
If you're asked this, you're not hiding it very well.  Is it worth unloading it all?
Is it worth burdening this person with what is "wrong"?
Do they actually care?  Will they understand?
Will they judge?  Will they offer unsolicited advice?

Running a red light...
a yellow light...
a purple light.
Crash.  Bang.  911.
Let's catch the later movie; we're not going to make it in time.

Stepping into a street before the beeps for the blind.
It's stranger than fiction.

"Deciding to write a cute boy on Facebook." - RTH
Yes, I meet people online.

Top of a step ladder.
Tippie toes...bad idea.

Entering an elevator.
Will you make it?

Hitting "Send," Clicking "Publish," Pressing "Share," and "Tweet."
Social media is not, and will not, be the death of me.  It only brings life.
It brings it in so many different ways and gives me so many verb options
for getting it all out there for you to read.

"Do you want to be boyfriends?" - JLH
"Do you?"  *sigh*  "Yes..."


Will you marry me?

Today I Asked Why

I wrote this story as a paper for my History of Photography class (ARTH 3600) in September 2010.

Writing dialogue is something I am not accustomed to.  There were voices in my head...each with distinct personalities.  The photographers in the conversation you are about to read are Timothy O'Sullivan, H.P. Robinson, and Julia Margaret Cameron.

Today I Asked Why

“I’m late, I’m late, I’m late!” I loudly mutter as I run through the door to my café. I like to call it “my” café because the actual owner let me decorate the south wall with whatever I wanted. I don’t know…it makes it feel like mine. I chose nothing fancy, nothing too extravagant. This large wall has one single photograph. I dare say this photograph is the best portrait ever taken. But that’s just my humble opinion. The image enshrined on the south wall is none other than Richard Avedon’s Marilyn Monroe.

Beautiful, isn’t it? Isn’t she? The rawness in her posture and facial expression is rare enough to view in person, let alone capture in a photograph… Anyway, as I mentioned, I was late for work. As I ran inside, the opaque cloudy sky released itself and, in a heartbeat, it was pouring. As I stood in the doorway, I could already sense my boss wasn’t even upset I was late. Why? Because he knows what a downpour means: customers! A café is prime refuge from a deluge. I unexpectedly get nudged from behind. I turn around to see a dozen people under the awning wishing to get inside. I step out of the way as the customers quickly trickle inside. 

Being the lowly busboy, I rush around the café gathering empty glasses, mugs, plates, and bowls, clearing room for our new wet customers. Once everyone was settled and we began to get a handle on things, I glanced to the south wall and smiled at Marilyn. Sitting at the table immediately across from her was an unusual trio of regular customers. I didn’t notice them come in with the thunderstorm rush…were they here before I arrived? Front row seat or not, they always watch Marilyn from wherever they lounge. Today I asked why. 

“Why? Why?!?” the woman jokingly jeers back at me. “Because it’s so beautiful, so soft, so…haunting! It’s simply stunning!” 

“I honestly don’t understand why you two like this picture so much,” the older gentleman interjects. “It’s just another plain picture of Marilyn Monroe. There are thousands of them and this one is no different. It’s not even artistic!” At this, the woman flushes an impatient shade of red but continues to sit and listen. The man continues, “Avedon just snapped this picture and did nothing to it – not one dodge, not a single trick, and not a thought of conjuration. A child could do that!” 

The younger man lightheartedly steps in, “What is a ‘conjuration’ anyway?” The three of them laugh as the younger man looks back at me and says, “I’m Timothy, by the way.” He points to the other two and introduces them as Julia and H.P. I introduce myself as I grab a chair to sit with them. “Don’t let me interrupt,” I say. “This was just getting exciting!” 

Julia draws us back into the conversation by asking H.P., “What would need to be different for you to accept this as a piece of art?” 

“Oh, so many things!” he replies. “First, the picture should have been taken with her looking more cheerful and less awkward. Photography should elevate the subject and avoid such awkward forms.” 

“But,” interjects Timothy, “that’s why I find this portrait to be so striking! Her ‘awkwardness’ makes this portrait different from her others. I haven’t taken many portraits myself, but I know a good one when I see one. Unfortunately, I instead know war.  And I know how to capture it in a way to convey its horror and lack of glamour. My goal was never to romanticize such atrocities. I wanted to show the world the death and dread it produces. Avedon took a picture of a devastated battlefield here! Marilyn looks like a mess compared to the thousands of glamorous shots we typically see of her. Marilyn Monroe was a bombshell in so many ways and Avedon captured her post-detonation.” 

Timothy’s passion causes the rest of us to sit in silent awe for a moment. Julia then slowly and softly breaks the silence saying, “As I’ve been listening,” her tone becoming more delighted, “I noticed how perfectly the sharpness of her face is balanced with the softness of everything else. You two would probably call the soft glow ‘out of focus.’ But what is focus – and who has a right to say what focus is the legitimate focus?” 

H.P. jumps at this comment and says, “The blurriness of her torso would make it impossible to even use in a combination print. Much more planning and thought would have to be put into this portrait to make it useful in my art photography.” 

“Planning and thought?” Timothy questions. “Words spoken by a man who photographs solely in his studio! When you’re out in the field documenting war or landscape, you record precisely what you see through the ground glass and do absolutely nothing to alter it.” 

“I don’t alter the photographs, Timothy,” H.P. calmly rebuts, “I combine them. I am following the encouragement to ‘not merely amuse, but to instruct, purify, and ennoble’ with my art photography. I will admit, with the world now knowing Marilyn’s rather tragic story, this image could certainly be used in an allegory to educate the public. I just believe, for a portrait to be considered art, the ‘artist’ needs to have more involvement than simply pressing a button.” 

“Allegories can be done without combination printing, you know,” says Julia. “You’ve seen my allegories. Yes, I did pose them, but I posed everything at once for a single photograph as to avoid combination printing. I find the printing process for a single photograph to be laborious enough... Printing from multiple negatives simultaneously would drive me bonkers! H.P., you said this portrait could possibly be used in an allegory. In my opinion, this portrait of Marilyn is an allegory on its own, combining my two favorite styles of art photography – portrait and allegory. However, Avedon didn’t pose her. It was completely unplanned. This singular moment could never be planned out in a studio for a combination print.” 

“Exactly,” confirms Timothy. “Avedon’s Marilyn Monroe combines the real and the ideal, sacrificing nothing of Truth. So let us take it for what it is rather than trying to reinvent it. I really have to agree with Julia here…” 

“I wouldn’t have expected any different, Timothy,” says H.P. with a smirk on his face. After a short pause, H.P. looks me in the eye and asks, “So, what do you think?” 

“Me?” I hesitantly reply. “Well…um…I’m a little biased toward this photograph…” 

Timothy laughs saying, “You think you’re biased? You’ve been listening to the conversation, haven’t you?” 

Many ideas and quotations were borrowed from Beaumont Newhall’s The History of Photography, pages 73-78. Though they are not explicitly cited, most of the quotes and ideas are recognizable from class discussion alone. 

Richard Avedon's Marilyn Monroe

This posting is a bit different for me. I would like to take a blog moment to pay tribute to my favorite portrait photograph. I was first introduced to this portrait of Marilyn Monroe by Richard Avedon in my Digital Photography class Spring semester of 2008. I fell in love the moment I saw it. So in love, in fact, that I now have an almost-life-sized print of this photo beautifully framed and hanging in my house. If that doesn't emphasize my passion about this portrait, I don't know how else to convince you. ;-)

Below you will find the following: said portrait, a video clip from American Masters - Richard Avedon: Darkness and Light (1996) where Avedon recounts the moment this portrait of Marilyn was captured, a critique on the photograph by Maria Morris Hambourg and Mia Fineman from their elegant book Avedon's Endgame, and my own closing critique and remarks. Enjoy!

Marilyn Monroe, Actress, New York City, May 6, 1957 Richard Avedon (American, 1923-2004) Gelatin silver print

Marilyn Monroe, Actress, New York City, May 6, 1957 Richard Avedon (American, 1923-2004) Gelatin silver print

This is a clip from PBS American Masters, Richard Avedon: Darkness and Light, Directed by Helen Whitney, 1996. Here, Avedon himself reflects on the exact moment this glorious portrait was taken.


I really enjoyed the following critique on this portrait. Please note, these are not my comments, but those of Maria Morris Hambourg and Mia Fineman from Avedon's Endgame; I want to make sure they receive the credit for their insightful remarks:

"In Marilyn Monroe, Avedon found a virtuoso of theatrical self-impersonation and with her pursued the mysterious point of convergence between actor and character, between the private self and the public role. 'There was no such person as Marilyn Monroe,' he explained in an interview with the filmmaker Helen Whitney [clip above]. 'Marilyn Monroe was someone Marilyn Monroe invented, line an author creates a character.' Recalling a session that took place at his studio on a May evening in 1957, he continued: 'For hours she danced and sang and flirted and did this thing that's -- she did Marilyn Monroe. And then there was the inevitable drop. And when the night was over and the white wine was over and the dancing was over, she sat in the corner like a child, with everything gone. I saw her sitting quietly without expression on her face, and I walked towards her but I wouldn't photograph her without her knowledge of it. And as I came with the camera, I saw that she was not saying no.'

"The famous portrait that resulted from this session is a study of the complex nature of celebrity. Entombed in her body, Avedon's Marilyn is a secular madonna mourning some indefinable loss. The picture is imbued with a sense of inferiority that seems worlds away from the rigid mask in Andy Warhol's posthumous silk screens of Marilyn as a gaudily glamorous pop icon. While Avedon's portrait foreshadowed the tragic figure Marilyn would soon become in the popular imagination, Warhol's silk screens, made shortly after her death from a drug overdose in 1962, have the still and distant quality of memorials. Yet neither Avedon's humanist portrayal of a sad seductress nor Warhol's luric canonization of her vivacious, wet-lipped counterpart reveals the real Marily Monroe. The truth of Avedon's portrait lies in a new character, a melancholy heroine collaboratively created by the photographer and his subject."

Hambourg, Maria Morris, and Mia Fineman. Avedon's Endgame. New York City: Harry N. Abrams, Incorporated, New York, and The Metropolitan Museum of Art, 2002.

This is a picture of my framed print of this portrait. This print was originally made for sale during a special exhibition of Richard Avedon's work at The Metropolitan Museum of Art September 26, 2002 - Jan 5, 2003. After a year of searching, I finally got my hands on it!

I am still at a loss to fully explain why I am so moved by this picture. I didn't (and still don't) know a lot about Marilyn Monroe and her life, but when I was first struck by this portrait, I knew enough to let it take me away. Her facial expression and bodily posture say, "What have I been doing? What have I done? Why am I doing this? And when will it end?" We all do things we're not proud of, get lost in the moment, and have these same striking realizations where we ask ourselves those same questions.

I guess, for me, I found solace in this portrait through empathy. Marilyn Monroe, oddly enough, became someone for me to relate to. Would I have felt the same had I not known anything about the personal life of the woman in the picture? I'm not sure. But either way, her facial expression and posture would ask the same questions. I believe the same message would be conveyed, but it is even more powerful with it being conveyed through this seemingly uncharacteristic, yet stunningly beautiful portrait of Marilyn Monroe.