timea semnificatia prenumelui simina

Foarte adevarat Simina...am aceeasi impresie si din pacate nu pot face nimic sa schimb lucrurile. Sau poate doar sa iau totul cu umor, am norocul sa am alaturi un barbat f optimist care desi simte lucrurile ca si noi incearca sa ma contamineze cu risul lui despre toate ce ne inconjoara, in fiecare dimineatza.
Cert este insa ca mi-ar place sa mai fiu inca copil si sa am timp pentru sieste, pentru prieteni, pentru citit o carte buna...

Cu alte cuvinte nu cred ca o sa gasesti timp de cumparat, doar daca veti avea posibilitatea cumva sa deveniti milionari in dolari!...si atunci veti fi ocupati sa-i investiti mai departe!

« Au fond, ce n’est pas la photo en soi qui
m’interesse. Ce qui je veux c’est de capter une
fraction de seconde du réel »

Henri Cartier-Bresson (1908 – 2004)
===================================================

Kingdoms of the world in a moment

Aug 5th 2004, From The Economist print edition
http://www.economist.com/cities/displaystory.cfm?story_id=3071607

Henri Cartier-Bresson, whose photographs defined the
20th century, died on August 3rd at the age of 95

ALTHOUGH his name was familiar almost everywhere, far
more so indeed than his work, Henri Cartier-Bresson
himself was not a familiar sight. With his alert blue
eyes and a coloured handkerchief knotted round his
neck, he would wander the streets near his home on
Paris's rue de Rivoli and seldom be recognised. One of
the greatest photographers of the 20th century was
himself rarely photographed.

In his lifetime, he travelled to all corners of the
earth, capturing images of some of the most
extraordinary moments of 20th-century history—the
Spanish civil war, the liberation of Paris after the
second world war and the funeral of Mahatma Gandhi. At
the same time he framed and preserved less famous
moments, elevating them with his genius so that they
somehow seemed to capture the essence of life itself.

His unequalled ability to seize a millisecond in time
was uncanny. In his book “The Decisive Moment”,
published in 1952, he wrote: “It is the simultaneous
recognition, in a fraction of a second, of the
significance of an event as well as a precise
organisation of forms, which give that event its
proper expression.” He was never very interested in
the technology of photography, in the effects that
could be obtained during developing and editing in a
dark room. It was all about the thrill of the chase,
the chance to seize a moment.

The man who first inspired Mr Cartier-Bresson was a
photographer called Martin Munkacsi, whose picture of
naked African boys running into Lake Tanganyika in
1931 persuaded him to take photography seriously. “I
couldn't believe that such a thing could be caught on
camera,” he said, “so I grabbed my Leica and went out
into the street.”

Between 1932 and 1935, he lived rough in Italy, Mexico
and Spain where he took some of his most memorable
images. Back in Paris he worked with Jean Renoir, a
film director, and ended up playing the unlikely role
of an English servant in the director's masterpiece,
“La Règle du Jeu”. He was a prisoner-of-war for three
years, and after the war was one of the founders of
the Magnum agency, a trail-blazing photographers'
co-operative. In 1948 he went on the road again,
mostly to India and China (in time for the fall of
Chiang Kai-shek), in an age when the images of
photojournalists like him filled the pages of picture
magazines that were, in the pre-television era,
hungrily viewed by millions.

Unassuming genius
For the last quarter of a century, Mr Cartier-Bresson
eschewed photography, taking only the occasional
snapshot of friends and family, and turning his
attention to drawing. (He trained originally as a
painter, his early work influenced by his friend, the
surrealist artist Max Ernst.) He maintained that he
scarcely wanted to discuss photography any more. “It's
like when you're divorced”, he said, “and people keep
asking about your former wife. There's something
indecent about it.”

He settled into a quiet life in France—in Paris and in
the small house that he owned for some 30 years in the
Lubéron, a region in the south of the country, to the
east of Avignon. And there he died on Tuesday August
3rd, just less than three weeks away from his 96th
birthday.

Mr Cartier-Bresson always said that to be a great
photographer you had to be unintrusive. “For me,
photography is very much a physical pleasure—it's like
hunting, except that we don't kill.” At the height of
his career he would stalk his subjects, and his quarry
would often be unaware that it had been captured on
film. His desire to remain out of the limelight stayed
with him to the end, including his wish to hold back
the world's photographers from the funeral of one of
the greatest of them.

His funeral was a private affair attended by some 50
family and close friends. Only after it had ended did
the French Ministry of Culture make an official
announcement of his death. And the next day, August
5th, many of his most famous images were splashed
across the front pages of newspapers the world over: a
woman slapping an informer she recognises at a
deportation camp in Dessau in 1945; Muslim women in
Srinagar, Kashmir, praying to the sun as it rises over
the distant Himalayas; and a French family picnicking
by the River Marne in 1938, almost a last pre-war
moment of stillness.

Of Mr Cartier-Bresson's death, President Jacques
Chirac said: “With him, France loses a genius
photographer, a true master, and one of the most
gifted artists of his generation.” But it is not only
France's loss. Mr Cartier-Bresson's fame, which grew
despite his efforts to avoid it, reminds a much wider
world of its persistent admiration for unassuming
genius, and of the dwindling stock of targets for that
admiration.

================================================

La famille d'Henri Cartier-Bresson, la Fondation Henri
Cartier-Bresson, les photographes et l'équipe de
Magnum Photos ont la tristesse de vous annoncer le
décès d'Henri Cartier-Bresson le 3 Août à 9h30 dans sa
maison du Luberon.Les obsèques ont eu lieu dans la
plus grande intimité. Un hommage sera organisé à sa
mémoire début septembre.
================================================

Mai multe informatii referitoare la persoanlitatea si opera lui Henri Cartier-Bresson puteti gasi pe site-ul MAGNUM Agency, fondata de HCB. Adresa este http://www.magnumphotos.com/c/ , asa cum s-a mai spus pe acest forum de discutii. Intr-adevar, acolo putem vedea cu totii niste fotografii. Adevarate...

din Bucuresti, un biet ucenic intr-ale fotografiei, Ovidiu SIMINA
11/08/2004

DEEP PURPLE CHILD IN TIME.....super cool,zau asa

A thousand half-loves must be forsaken to take one whole heart home.