Why HCB uses a 50mm lens

In Eggleston’s account of meeting HCB, Henri said just one thing to him the whole evening: “William, color is bullish!t”
 
Pál_K said:
In Eggleston’s account of meeting HCB, Henri said just one thing to him the whole evening: “William, color is bullish!t”
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We all have our blind spots. Or maybe it was just sour grapes; could be that HCB just couldn't cut it with color, and knew it.
Walker Evans disparaged color all his life, but then, in his last two years, embraced the Polaroid SX-70 for color work. Something very admirable in that, though I have to say I find his SX-70 shots pretty disappointing. I wish HCB had given it a go.
 
Divining what Bresson meant, what was on his mind, is as difficult as predicting what the market will close at tomorrow. As someone pointed out he had answered all these questions before. And he was testy. Perhaps he felt his work should speak for itself. He did mention that he felt the camera a convenient sketch pad. From what I have read he shunned the spotlight and cherished his privacy. He may have found interviews galling.

One of the nice things about Maier is that we do not have to suffer interviews of her and their dissections. All we need do is look at the photos. Simple.
 
My favourite deliberately obtuse response of a photographer is Jane Bown’s answer when asked about her photographic technique: “I have an exposure I like - 1/60s at f2.8.”
 
Richard G said:
My favourite deliberately obtuse response of a photographer is Jane Bown’s answer when asked about her photographic technique: “I have an exposure I like - 1/60s at f2.8.”
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I don't know whether Ms. Bown was being deliberately obtuse with this statement, but since I learned that she relied on this one exposure setting, I have been using it often for window lit portraits and other well-lit interior scenes. It's not magic but it is certainly helpful in those scenes. It helped give me confidence to shoot without a meter in more challenging lighting scenes than just relying on Sunny 16 outdoors and has helped my photography considerably.

Those 20th century photographers like Bown and HCB knew what they were doing.
 
JohnWolf said:
Maybe you've seen this personal account of time spent with HCB. I had read it before but enjoyed reading it again.

https://ishupatel.com/PHOTOGRAPHY/My...tier-Bresson/1

John
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Interesting cultural restrictions on how andwhere he (Mr. Patel) could travel and stay.

I’m curious how HCB managed to move about and not attract attention- definitely a skill, as obviously people are coming towards you and are walking behind you in the same direction.
 
Pál_K said:
Interesting cultural restrictions on how andwhere he (Mr. Patel) could travel and stay.

I’m curious how HCB managed to move about and not attract attention- definitely a skill, as obviously people are coming towards you and are walking behind you in the same direction.
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I've shot quite a bit in India and find folks go about their lives and don't notice or mind being photographed. It's wonderful in that way. And then there's the crowds - tens of millions at Kumbh Mela. This probably explains his use of a 35 in the story.

I found the bit about avoiding direct sunlight interesting. Somewhat of a challenge in India.
 
AAlfano said:
I don't know whether Ms. Bown was being deliberately obtuse with this statement, but since I learned that she relied on this one exposure setting, I have been using it often for window lit portraits and other well-lit interior scenes. It's not magic but it is certainly helpful in those scenes. It helped give me confidence to shoot without a meter in more challenging lighting scenes than just relying on Sunny 16 outdoors and has helped my photography considerably.

Those 20th century photographers like Bown and HCB knew what they were doing.
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I agree. There is indeed a great deal to recommend that setting and she may have been deadly serious. The 1/60s is the key, the serious intent required of the shooter, the wordless signal to the sitter of some stillness required, and the final touch, the slight failure to absolutely stop all motion.
 
Richard G said:
I agree. There is indeed a great deal to recommend that setting and she may have been deadly serious. The 1/60s is the key, the serious intent required of the shooter, the wordless signal to the sitter of some stillness required, and the final touch, the slight failure to absolutely stop all motion.
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Let us remember the time she had recommended that setting (and film speeds) and the light she may have preferred.
 
JoeV said:
I’m unfamiliar with this setting on my GR3, could you elaborate please?
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Most likely this is the Snap Focus feature - allowing the camera to focus quickly at a predetermined distance. Lots of info about it on the web.

It was available on the very first GR-1 of the 1990’s and has been enhanced in later models, including digital ones.
 
Pál_K said:
;m curious how HCB managed to move about and not attract attention- definitely a skill, as obviously people are coming towards you and are walking behind you in the same direction.
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Shortly after the war he lived for three years in Indonesia, Indochina, India and China, so he was very much at home in an Asian country.

Erik.
 
Pál_K said:
Most likely this is the Snap Focus feature - allowing the camera to focus quickly at a predetermined distance. Lots of info about it on the web.

It was available on the very first GR-1 of the 1990’s and has been enhanced in later models, including digital ones.
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Thank you. But I was hoping ARCHLICH would respond, since my reply was directed at him. I have a GR3 and the snap focus is a menu dive, not necessarily a “one button” feature unless you reprogram the control mapping.

I assume what ARCHLICH was objecting to was the idea that you buy a GR and you’re an instant Daido, as if it were a filter of some sort. Which I agree with, actually.
 
There have been comments about quite a range of photographers here. The thing that really isn't talked about it what format was used by each photographer and the effect that has on their work. 35, 6x6, 4x5, 8x10. Also hand-held vs tripod. Atget is adored by many, Weston is a legend, but how different from HCB! All have had their profound influence. It is wonderful to explore.
 
JoeV said:
Thank you. But I was hoping ARCHLICH would respond, since my reply was directed at him. I have a GR3 and the snap focus is a menu dive, not necessarily a “one button” feature unless you reprogram the control mapping.

I assume what ARCHLICH was objecting to was the idea that you buy a GR and you’re an instant Daido, as if it were a filter of some sort. Which I agree with, actually.
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That only works with a 25A red filter. Then you're an instant Ansel. :)
 
Richard G said:
My favourite deliberately obtuse response of a photographer is Jane Bown’s answer when asked about her photographic technique: “I have an exposure I like - 1/60s at f2.8.”
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A lot of people say they always use the Sunny 16 rule of thumb. If they always use the same film then they are saying, as she did, that they always use the same speed and aperture.

FWIW, for years when I started photography I always started with 100th at f/8 but the key to it and probably the others' comments is "started" and then you look round and, perhaps, go up or down a stop or two. Thanks to smart phones a lot of people will be lost at this point.

Regards David
 
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