Digital BW, The Print

Cartier-Bresson, W. Eugen Smith, and photographers that are associated 
with shooting this moment didn't have the luxury of the digital camera 
or unlimited film. During the second world war, when these men were 
photographing the resistance movement or from the front, they had to 
preserve their film. The worst thing was to run out and in war time 
there are no assurances that you can just go down to the local drug 
store and get more.

Even today the photojournalist that shoots conflicts is under similar 
constraints. True they can set up a satellite dish and broadcast the 
digital images back, but at times it is down right dangerous to do so. 
Then there is the issue of not so much film but battery life and getting 
power to recharge.

But also people like Cartier-Bresson and Smith feel the moment. They 
spend their time looking at the subject while it is unfolding and have 
the ability to fire the shutter at the right moment. That's why they are 
who they are and the average hack war photographer has long been forgotten.

If you remember Cartier-Bresson felt that the image has to be developed 
in the "mind's-eye" first and composition was the most important thing 
about the image. That's why he printed (most) of his images without 
cropping. The full frame 35 mm shot became his trademark. In fact his 
followers would file out the negative carrier to prove they had not 
cropped. To these men the snapping of the shutter was the last part of 
selection of a photograph - not the first.

I'm sure they took more than one shot of many subjects as the moment 
unfolded, however, that is different than rapid fire shooting and 
letting the dust settle hoping to get a good shot.

Of course both were not at all shy about manipulations in the darkroom.

The tools today are different - whether they produce better images or 
better photographers is still an open question. One that won't be 
answered for a long time.

Truman

C J Morgan wrote:

> C J Morgan writes:
> >> Then again, sometimes we have to shoot 10 frames instead of just
> >> 1 to get the best "decisive moment" ...
>
> Anthony G. Atkielski wrote:
> > The photographer who coined the term typically only shot one.
>
> And we've learned a lot about the creative process since then.
> Indeed, I imagine if he were around today with a digital camera,
> he won't hesitiate to shoot off 10 frames to get one "best of
> decisive moment" amongst the series of shots taken.... and likewise
> probably would have had a lot more "decisive moment" final images
> in his portfolio case by the end his days.
>
> CJ
>