zondag, mei 25, 2003
It was Newsweek's radical idea to have Helmut Newton, known for his erotic and extremely composed photographs, shoot a portrait of Cartier-Bresson, master of the wholly natural Decisive Moment. Cartier-Bresson loathes having his picture taken, and when he must, he insists the photographer be a member of Magnum, the cooperative he cofounded half a century ago. Newton is not.
Yet they met up in Paris last week for the shoot. "He looked good, very good,” says Newton, 83. “He did everything I wanted, and was so sweet. I shot two rolls in color because he has very beautiful blue eyes, and four of black-and-white, because, being Cartier-Bresson, it has to be black-and-white.” Though their approaches are so different, Newton has long admired Cartier-Bresson. “His pictures are about truth,” Newton says. “Real people, like the picnic by the Marne. I like that one best.” They first encountered each other 25 or 30 years ago, in a Paris cafe. “I felt he turned his nose up at me,” Newton recalls. A few years later Newton said in a television interview that, although he loved Cartier-Bresson’s work, he believed the feelings were not mutual. Soon after, Newton received a postcard from Cartier-Bresson. It read: “I like you very much.”
Newton finally saw Cartier-Bresson again last year, when Vanity Fair asked Cartier-Bresson to shoot a portrait of Newton for a portfolio by photographers older than 80. Cartier-Bresson invited Newton and his wife, June (known by her nom de camera, Alice Springs), for lunch at his flat in the rue de Rivoli. Then they walked to a nearby park to take the picture. “He had his little Leica,” Newton remembers, “and he simply would point and shoot.” Since Cartier-Bresson’s hand isn’t as steady as it used to be, some of the pictures were a bit fuzzy. “Sharpness is a bourgeois concept,” he told Newton. Newton sits back and laughs: “I thought that was just divine.”
Bron: Newsweek.
Lees meer over Henri Cartier-Bresson in de Newsweek van 2 juni.
Yet they met up in Paris last week for the shoot. "He looked good, very good,” says Newton, 83. “He did everything I wanted, and was so sweet. I shot two rolls in color because he has very beautiful blue eyes, and four of black-and-white, because, being Cartier-Bresson, it has to be black-and-white.” Though their approaches are so different, Newton has long admired Cartier-Bresson. “His pictures are about truth,” Newton says. “Real people, like the picnic by the Marne. I like that one best.” They first encountered each other 25 or 30 years ago, in a Paris cafe. “I felt he turned his nose up at me,” Newton recalls. A few years later Newton said in a television interview that, although he loved Cartier-Bresson’s work, he believed the feelings were not mutual. Soon after, Newton received a postcard from Cartier-Bresson. It read: “I like you very much.”
Newton finally saw Cartier-Bresson again last year, when Vanity Fair asked Cartier-Bresson to shoot a portrait of Newton for a portfolio by photographers older than 80. Cartier-Bresson invited Newton and his wife, June (known by her nom de camera, Alice Springs), for lunch at his flat in the rue de Rivoli. Then they walked to a nearby park to take the picture. “He had his little Leica,” Newton remembers, “and he simply would point and shoot.” Since Cartier-Bresson’s hand isn’t as steady as it used to be, some of the pictures were a bit fuzzy. “Sharpness is a bourgeois concept,” he told Newton. Newton sits back and laughs: “I thought that was just divine.”
Bron: Newsweek.
Lees meer over Henri Cartier-Bresson in de Newsweek van 2 juni.
# posted by Jan-Edward : 07:19
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