Henri Cartier-Bresson The Decisive Moment 1952 AN EXCERI Uunposed es with a sharp eye f things.” His fast as the shutters he rarely crops. Cartier-Bresson has made films. p its subject in all its intensity, the igorously established. Photography im= Plies the recognition of a rhythm in the world of real things. What the eye does is to fis particular subject within the mass 384 pe is the resu ly you press the but don't know why) th you can take a prin figures which f the shutter was rel ie pattern w oth formless and our constant preoccupations, but at ing it can stem only for w to capture the fugitive api ure to a schema, can sograph has been ‘ ly for a of the picture, I hope we will never see thelamp onto our view. found etched on our William M. care Prints and Visual Communication 1953 EXCERPT um M. Ivins, Jr. (1881—1961) was curator of prints at the Metropolitan Muscur of Art in New York. In the book from excerpt is taken, he dealt with the effects of the based upon simple manual techniques and terials, was based on quite recent development ies and, especially, of chemistry. I have an idea that a very good argument could be put up for the claim that it is through photography ‘that art and science have had their most striking effect upon the thought 387