猫 眼 镜 头 (CatEye Lens)

来源: BlogBus 原始链接: http://www.blogbus.com:80/blogbus/blog/archive.php?id=8811 存档链接: https://web.archive.org/web/20041027040844id_/http://www.blogbus.com:80/blogbus/blog/archive.php?id=8811

猫 眼 镜 头 (CatEye Lens) 2004/06/01 到 2004/09/27 To visualize the world with my CatEye Lenses Abandoned - 3

2004-09-27 00:39 Post by torontotom @ 00:39 Abandoned - 2

2004-09-24 00:39 Post by torontotom @ 00:39 Abandoned - 1

2004-09-22 22:26 Post by torontotom @ 22:26 OTTAWA-2

2004-09-14 08:26 Post by torontotom @ 08:26 OTTAWA-1

2004-09-13 05:30 Post by torontotom @ 05:30 继续爬

2004-09-11 23:16 Post by torontotom @ 23:16 停车坐爱

2004-08-16 23:51 Post by torontotom @ 23:51 Henri Cartier-Bresson

2004-08-06 01:06 PARIS -- Legendary photographer Henri Cartier-Bresson, who travelled the world for more than a half century capturing human drama with his camera, has died, French media reported yesterday. He was 95. Mr. Cartier-Bresson shot for Life, Vogue and Harper's Bazaar magazines, and his work inspired generations of photographers. He became a French national treasure, though he was famously averse to having his own picture taken or to giving interviews. Calls to the Cartier-Bresson home in Paris were not answered. His French publisher Gallimard and Magnum Photos, the agency he founded, said they could not confirm his death. But LCI television said Mr. Cartier-Bresson died Monday in L'Isle-sur-la-Sorgue in the rural Vaucluse region in southeastern France. Funeral services were being held yesterday. "He was perhaps the greatest photographer of the 20th century," said John Morris, who first met Mr. Cartier-Bresson at the door of the Hotel Scribe in Paris five days after the Germans left the city at the end of the Second World War. Later when Morris was executive editor of Magnum Photos, Mr. Cartier-Bresson worked with him. They remained lifelong friends. Gary Knight, managing director of the co-operative photo agency VII, called Mr. Cartier-Bresson one of the most influential photographers of all time. "He inspired people, and he defined photography at that crucial period when small cameras were coming into fashion and its entire nature was changing," he said. Whether recording the funeral of Mahatma Gandhi in India or Henri Matisse at home, Mr. Cartier-Bresson sought to render the feeling of the moment with his distinctive classical style and penchant for geometrical composition. "In whatever one does, there must be a relationship between the eye and the heart," he once said in a rare interview. "With the one eye that is closed, one looks within, with the other eye that is open, one looks without." He disdained arranged photographs and artificial settings. His concept of photography centred on what he described as "the decisive moment" -- the moment evoking the ultimate significance of a given situation as all the external elements fall perfectly into place. He shot with a Leica, the quietest of cameras, working only with black and white film, and notably, without a flash. Thrusting a subject in the limelight, he once said, was a sure way to destroy it. He also opposed cropping pictures, saying it diluted the picture's meanings. While most of his international fame was generated from worldwide exhibitions and publications including Harper's Bazaar, Mr. Cartier-Bresson gained recognition from two documentary films he made about medical aid to the loyalists in the Spanish Civil War and about French prisoners of war returning home at the end of the Second World War. Mr. Cartier-Bresson was born Aug. 22, 1908, in Chanteloup outside Paris to a wealthy textile family. The eldest of three children, he was interested mainly in painting. At 20, he turned his back on the family business to study art. In 1930, with a brownie box camera, he started dabbling in photography. Two years later, armed with his Leica, he began a series of photo expeditions to the French Ivory Coast, Poland, Czechoslovakia, Austria, Germany and Italy. After publishing photos from his travels in several magazines, Mr. Cartier-Bresson had his first exhibition in Madrid in 1933. Later that year he had the first of several major shows in New York. Critics said his most brilliant photograph was Behind the Gare Saint-Lazare , which depicts a man leaping over a puddle and frozen in mid-air, with his shadow forming a V contrasting to the vertical fence above the railroad tracks. Rue Mouffetard , a poignant shot of a grinning youngster carrying two bottles of wine down the Left Bank market street, became one of his most sought-after photos. Mr. Cartier-Bresson also was drawn to the cinema and worked as an assistant director to esteemed French director Jean Renoir on his classic The Rules of the Game . He then turned his documentary talents to the Spanish Civil War. At the outbreak of the Second World War, he was drafted into the French army where he was a corporal in a film and photography unit that was captured in the Vosges Mountains in June, 1940. After nearly three years in German prison camps, Mr. Cartier-Bresson escaped and made his way back to Paris where he divided his time between commercial photography and transporting ex-prisoners for the French underground. In 1945, under the aegis of the U.S. Office of War Information, Mr. Cartier-Bresson directed The Return , a highly praised documentary on the homecoming of French prisoners of war. In 1947, he joined Robert Capa and David Seymour in founding Magnum. Since then, his photos have been featured in one-man shows in major museums and galleries worldwide. In 1979, the cream of his work was shown at New York's International Center of Photography and then toured for three years to 15 cities in the United States and Mexico. Among the most famous of his dozen books is The Decisive Moment , published in 1952, which Mr. Cartier-Bresson prefaced with a quote from 17th century writer, Cardinal de Retz: "There is nothing in this world that does not have its decisive moment." From "Globle And Mail, Toronto, Canada" Post by torontotom @ 01:06 拉夫特而

2004-07-28 11:29 Post by torontotom @ 11:29 后里靠

2004-07-27 09:39 Post by torontotom @ 09:39 �w去�碣�

2004-07-26 11:39 Post by torontotom @ 11:39 Street Festival - C

2004-07-25 13:47 Post by torontotom @ 13:47 弃？

2004-07-23 10:23 Post by torontotom @ 10:23 后窗

2004-07-22 11:02 Post by torontotom @ 11:02 1.5小时以后

2004-07-20 12:03 Post by torontotom @ 12:03 傍晚

2004-07-19 12:16 Post by torontotom @ 12:16 Street Festival - B

2004-07-14 10:56 Post by torontotom @ 10:56 Street Festival - A

2004-07-13 06:16 Post by torontotom @ 06:16 越战墙及其它（TMX100）

2004-07-12 01:42 Post by torontotom @ 01:42 林肯纪念堂（TMX100）

2004-07-09 12:22 Post by torontotom @ 12:22 白宫及其周边（REALA）

2004-07-07 11:37 Post by torontotom @ 11:37 国会山庄（数码）

2004-07-06 11:10 Post by torontotom @ 11:10 盼星

2004-06-29 09:21 Post by torontotom @ 09:21 幸免

2004-06-27 10:15 Post by torontotom @ 10:15 工地

2004-06-26 12:54 Post by torontotom @ 12:54 兜风

2004-06-25 09:20 CANON EOS 5 28-105MM | KODAK TMAX 100 | XTOL 1：1 镜头不够长，裁剪了1/3。 Post by torontotom @ 09:20 清凉

2004-06-24 10:30 Post by torontotom @ 10:30 罪过

2004-06-24 10:10 Post by torontotom @ 10:10 橱窗

2004-06-24 10:05 Post by torontotom @ 10:05 夏天真的来也

2004-06-18 09:40 Post by torontotom @ 09:40 一个婚礼

2004-06-16 09:37 Post by torontotom @ 09:37 怎一个烦字了得

2004-06-15 11:08 Post by torontotom @ 11:08 Longing For Light

2004-06-14 08:32 Post by torontotom @ 08:32 泥塑家和他的售货车

2004-06-12 10:01 Post by torontotom @ 10:01 准备餐桌的侍者

2004-06-07 10:31 Post by torontotom @ 10:31 三个女人，一台戏

2004-06-05 13:04 Post by torontotom @ 13:04 Running back to parents

2004-06-03 10:05 Post by torontotom @ 10:05