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ALLAN
JENKINS talks about
Henri Cartier-Bresson:
What inspires me most about Henri Cartier-Bresson's
photography is his instinctive way
of working, where not only sight and mind take
part, but the mechanical tools become
so familiar, that they almost cease to be noticeable,
and give way to truer and more instinctive interpretations.
I also find fascinating the way he has fused reportage
with an artistic eye, carefully composing and
waiting for the “decisive moment”.
Combining the scientific approach with a more
heartfelt and finely tuned emotional involvement,
to not only record what he sees, but simultaneously
project a part of himself on to his chosen subject.
I have been influenced by Henri Cartier-Bresson
in a number of areas. Firstly by working in a
purist manner, using mostly natural light and
real people as subjects, as opposed to models
or professional sitters. Second I also only compose
the image in the view finder and not later, in
the darkroom. The image you intend to capture
shouldn’t be massively manipulated, if it
were it would no longer have the truth of the
moment you captured and intended to preserve.
Since I work on large format cameras, and contact
print my images ,the whole negative needs to be
used, so no cropping takes place to achieve a
final print.
I'm also influenced by Cartier-Bresson’s
quiet yet prolific way of working, as I believe
that photography can become a constant journey
of discovery through the boundaries of perception.
Constantly searching for true moments and simplifying
ways to capture a part of life... Cartier-Bresson
relates the camera to a sketchbook, creating a
constant series of studies that capture the tiny
details and moments filled with ideas and emotions.
Intending for all of these sketches to slowly
build towards the bigger picture; telling us little
stories along the way. Through the discipline
and practice of the search, one develops one's
own personal style, which constantly changes as
we find our own particular formulas.
This
nude shot in Italy reminds me of how a concealed
identity can transform the message and overall
feeling of a picture. Concentrating more on the
individual shapes, emphasizing form and detail,
but not allowing us to engage in the person’s
identity. Anonymity can create mystique, can also
create a stronger composition, as we no longer
concentrate on the person’s expression,
but the shape that their body makes. Alternatively
it also makes you wonder what their expressions
would be like, as you want to see more!! That
is the attraction of holding back information,
not only based on the theory "less is more",
but also making your imagination work, as you
wonder more. I also like the lack of distractions
or signs of modernity, therefore delivering a
completely natural identity.
Allan
Jenkins , London, July 2003
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