Henri Cartier-BressonWhy did he shoot Black & White?

Steven Baitz

10335086

CCA 1108 ‒ Communications and Design Technology

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TABLE OF CONTENTS

Photography and Colour

“Color, in photography, is founded on a basic prism; for the time being, it cannot be

otherwise, because we do not yet have the chemical processes that permit the

complex breaking down and reconstitution of color (in the pastel range, for example,

the gamut of green is made up of 375 nuances!).

For me, color is a very important medium of information, but it is very limited on the

reproduction-surface, which remains chemical and not transcendental, not intuitive,

as it is in painting. As opposed to black, which has the most complex range, color, on

the contrary, offers only a fragmentary range.” (Cartier-Bresson & Sand, 1999, p. 43)

 Composition ............................................................................................................ 3 

Technical Problems ............................................................................................. 3 

Film Speed .......................................................................................................... 3 

Printed Reproduction ..................................................................................... 3 

Future ................................................................................................................... 4 

A Question of Colour ........................................................................................... 4 

Next Generation .................................................................................................... 5 

Conclusion ............................................................................................................... 5 

A selection of photos from ‘A Question of Colour .............................. 6 

References ............................................................................................................... 7 

 

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Composition Composition was regarded as of paramount

importance to Cartier-Bresson. “If a photograph is

to communicate its subject in all its intensity, the

relationship of form must be rigorously

established. Photography implies the recognition

of a rhythm in the world of real things. What the

eye does is to find and focus on the particular

subject within the mass of reality; what the

camera does is simply to register upon film the

decision made by the eye”.(Cartier-Bresson &

Sand, p. 32)

In order to design a photograph in camera that

complies with HCB’s requirements for complex

geometrical perfection coupled with the

gestures and positioning of the subject the sped

of thought needed is immense. HCB concentrated

completely on form and content and the inclusion

of colour as a factor would have made the

process untenably difficult and the achievement

of his ‘Decisive Moment’ would have been

immobilising.

“In talking about composition we have been so far

thinking only in terms of that symbolic color

called black. Black-and-white photography is a

deformation, that is to say, an abstraction. In it, all

values are transposed; and this leaves the

possibility of choice”.(Cartier-Bresson & Sand, p.

35)

Apart from the additional complexity that colour

would have placed on HCB’s process, he did in

fact several difficulties with the technology of the

colour process at that time.

HCB states that colour photography brings with it

problems that were difficult to resolve at that

time, due to its complexity and its relative

immaturity.

Technical Problems Film Speed

The emulsions available at the time were very

slow, and limited the photographer to take

pictures of static scenes or use ‘ferociously

strong’ artificial lighting. This made ‘decisive

moment’ photography very difficult.

The slowness of the emulsion forced the

photographer to use large f-stops which resulted

in a low depth of field relatively close shots, often

leading to dull compositions. In addition, HCB did

not find blurred colour backgrounds pleasing to

the eye. The blurred backgrounds is another

product of low depth of field.

Printed Reproduction

HCB felt that the printed reproduction of colour

from colour photographs was immature and

imperfect, and sometimes gave reprehensible

results. Bringing the colour of nature to a printed

surface posed a series of complex problems.

Visually some colours recede and some colours

advance. HCB thought that the process should be

able to adjust the relations of one colour to

another to more closely emulate the visionary

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and emotional products of colours in the natural

space.

HCB reiterated that the problems the

photographer faced in snapshooting (‘decisive

moment’) were precisely that they could not

control the movement of the subject and as such

could not control the inter-relation of colours

within the frame.

Future

HCB was firm in that although colour

photography was in its infancy and also that it

was difficult to foresee how colour photography

was going to grow in photo-reporting, “it seems

certain that it requires a new attitude of mind, an

approach different than that which is appropriate

for black-and-white “. (Cartier-Bresson & Sand, p.

36)

HCB was in fact quite disparaging of colour

photography. In the words of William Ewing, who

curated a recent show entitled ‘A Question of

Colour’, “…more seriously, especially for an artist,

Cartier-Bresson confessed to deep misgivings

about colour film as an expressive medium. He

believed it was too realistic, seriously

compromising the element of abstraction and the

distancing effect that black-and-white permitted.

He believed that colour was the prerogative of

painting and went out of his way to denigrate

1 The Magnum Society is a photographic co-operative

started by Henri Cartier-Bresson, Robert Capa and

others

colour photography. Using it grudgingly, he

maintained: “In its present state of development,

the medium of colour photography is for me only

a means of documentation. ” It lacked emotion.

Worse, it was “emasculated vision… of interest

only to merchants and magazines”. It was

extremely ironic that Modern Photography had

titled its article, ‘Cartier-Bresson finds in Color’,

because from the lacklustre results, it was clear

that he had most certainly not found it.”(Ewing,

2012)

Ewing goes on to say that by the mid-20th

century, black-and-white photography had been

elevated to ‘an almost sacred status’. Robert

Frank, another Magnum1 photographer argued

that colour photography was “vulgar” and

“Corrupting”.

A Question of Colour The issue of black-and-white as opposed to colour

photography remains a contentious one. So

much so that recently (closing in January 2013) ,

an exhibition was held at the Terrace Rooms &

Courtyard Rooms, Somerset House, Strand,

London. (Gosling, 2012).

The show intended to show some previously

unseen Cartier-Bresson photographs and looks at

how HCB’s black-and-white prints influenced the

colour photography of many photographers that

came after him. 15 photographers were selected

based on their use of colour, referencing HCB’s

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well publicised disparagement of colour

photography. “[William A. Ewing] says ‘This

exhibition will show how Henri Cartier-Bresson,

in spite of his sceptical attitude regarding the

artistic value of colour photography, nevertheless

exerted a powerful influence over photographers

who took up the new medium and who were

determined to put a personal stamp on it’”.

(Gosling, 2012)

Artists represented in the exhibition included,

among others, the late Helen Levitt (a

contemporary of HCB), Trent Parke (Australian

Magnum member), and Harry Gruyaert, who as a

junior colleague, debated the use of colour with

Cartier-Bresson himself.

Ewing paraphrases HCB’s position as follows: “I

don’t think colour photography is up to the mark.

Prove me wrong, if you wish”.

Next Generation The challenge was taken up by a number of

HCB’s contemporaries and by a generation of

younger photographers. the following examples

indicate a certain success. They felt that black-

and-white had had its day, and finally the

appropriate tools and technology was available to

enable reportage photography in colour. One of

these photographers, Joel Meyerowitz conducted

a test in the late 1960’s where he would take

photographs of the same subject in colour and in

black-and-white and then comparing the results.

Out of six pairs, he thought only one was better in

monochrome.

A younger photographer, Andy Freeburg, also

made the transition to colour. He used to agree

with HCB regarding black-and-white as it

simplified the shapes and did not distract from

the elements and people’s expressions and

gestures. He understands how much the

technology has improved and that it has opened

new vistas in reportage photography.

Ewing puts it very eloquently; “There are, of

course, many ways to photograph in colour, but

only one concerns us here: approaching one’s

subject with a small camera à la Cartier-Bresson ‒

armed and ready for the sudden gesture, the

fleeting movement, the simultaneity of diverse

gestures which somehow lock together in an

almost balletic manner, the sudden spark that

animates the scene, all over in the blink of an eye.

This is the valid core of the term “decisive

moment” as I propose to use it, and this

exhibition looks at a number of colour

photographers either inspired by the ethos, or

who share something of its essence”.(Ewing,

2012)

Conclusion Henri Cartier-Bresson chose to photograph in

black-and-white mainly for reasons of technology,

however, due to the nature of the expectations of

reportage photography and the approved criteria

at the time when he was most active as a

photographer, it is likely that he would have

selected black-and-white as his preferred medium

anyway.

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Havana Cuba - Alex Webb

Harlem New York - Henri Cartier-Bresson Chestnut Hill, Massachussets- Karl Baden

The difference is not just one of colour or not colour. An inspection of the photographs shows a difference in dramatic effect, a difference in the requirements and impact of subject matter. Photographing in colour or black-and-white, in the words of HCB: “it seems certain that it requires a new attitude of mind, an approach different than that which is appropriate for black-and-white “. (Cartier-Bresson & Sand, p. 36)

A selection of photos from ‘A Question of Colour

Brooklyn, New York - Cartier-Bresson

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References

Baden, Karl. (2009). Chestnut Hill, Massachussets. [photograph]. Retrieived from  http://www.wallpaper.com/art/cartier‐bresson‐a‐question‐of‐colour‐at‐somerset‐house‐london/6189#71900 

Cartier‐Bresson, H., & Sand, M.L. (1999). The mind's eye: writings on photography and photographers. New York, NY: Aperture. 

Cartier‐Bresson, Henri. (1932).Behind the Gare Sint Lazare,Paris. [Adapted photograph]. Retrieved from http://art.1stdibs.com/art_detail.php?id=4160 

Cartier‐Bresson, Henri. (1947).Brooklyn, New York. [photograph]. Retrieved from http://artblart.com/2013/01/23/exhibition‐cartier‐bresson‐a‐question‐of‐colour‐at‐somerset‐house‐london/

Cartier‐Bresson, Henri. (1947).Harlem, New York. [photograph]. Retrieved from http://artblart.com/2013/01/23/exhibition‐cartier‐bresson‐a‐question‐of‐colour‐at‐somerset‐house‐london/ 

Drake, Carolyn. (2011).New Kashgar,Kashgar, Chine. [Adapted photograph]. Retrieved from http://artblart.com/2013/01/23/exhibition‐cartier‐bresson‐a‐question‐of‐colour‐at‐somerset‐house‐london/

Ewing, William. (2012). CHALLENGE & RESPONSE. The British Journal of Photography, 159, 64‐70. Gosling, Emily. (2012). Cartier‐Bresson: A Question of Colour. Design Week (Online).

 Meyerowitz, Joel.(1975). 5th Avenue New York City. [photograph]. Retrieved from http://www.wallpaper.com/art/cartier‐bresson‐a‐question‐of‐colour‐at‐somerset‐house‐london/6189#71898 

Webb, Alex. (n.d.) Havana Cuba. [photograph].Retrieved from http://www.wallpaper.com/art/cartier‐bresson‐a‐question‐of‐colour‐at‐somerset‐house‐london/6189#71892