A Critic at Large: Candid Camera: Reporting & Essays: The New Yorker
"When I spoke to his widow, Martine Franck—the president of the Henri Cartier-Bresson Foundation, in Paris, and herself a distinguished photographer—she said that her husband in action with his Leica “was like a dancer.” This feline unobtrusiveness led him all over the world and made him seem at home wherever he paused; one trip to Asia lasted three years, ending in 1950, and produced eight hundred and fifty rolls of film. His breakthrough collection, published two years later, was called “The Decisive Moment,” and he sought endless analogies for the sensation that was engendered by the press of a shutter. The most common of these was hunting: “The photographer must lie in wait, watching out for his prey, and have a presentiment of what is about to happen.”
Amusing but looks like the real thing behind Cartier-Bresson’s technique of catching photographable objects. His wife was talking about his most graceful dancer-like movements in the way he moved forward in a crowd and positioned himself and the camera .It was as thought he was a hunter chasing a game .
