By Marco Angelo Mercado | The Red Chronicles
Photo Courtesy | Katrina Gonzales
It is an illusion that photos are made with the camera… They are made with the eye, heart, and head. These are the words of Henri Cartier-Bresson, a legendary French photographer whose humane, spontaneous photographs helped establish photojournalism and street photography as art forms. Through his revolutionary work, many began seeing photography, a fairly new art form then, as not just a way to create portraits of the wealthy or to capture beautiful landscapes. Cartier-Bresson to photography was like Elvis to rock and roll. He would end up influencing and establishing a whole new genre of art: street photography.
Street photography can be quite difficult to define in absolute terms. There are many definitions out there, some a bit conflicting with others, but I would stick to the definition that I concocted over time: street photography, for me, is simply taking candid moments of human condition and human life. It’s a reaction tied to the fleeting awareness of things. In one instant, you feel fully alive, but a moment later, it’s as if nothing was there. One moment, everything is present; the next, it’s gone.
A good photographer notices the details, the context, and the nuances in a scene that most might overlook. The way an image is framed can tell so much about the story, highlighting specific elements or even shifting the reader’s perception. The meanings behind photographs can also vary depending on the context, culture, and perspective in which they were made. It raises questions about truth, manipulation, and ethical representation, especially when it comes to photojournalism. These characteristics of a good photographer are not that far apart from those of a good lawyer.
In both the law and photography, I have this unique opportunity of tending to the disciplines of law and photography – a synthesis of sorts. Both are deeply concerned with interpretation, perspective, and the articulation of truth. Crucially, it is a requirement in both fields to look properly and to see clearly, whatever that might mean.
The act of looking properly begins with intent, to slow down and pay close attention to the surroundings. We frequently look but fail to notice in a society that values efficiency and speed. A scene, a subject, or a brief interaction must be captured with the essence of the moment, not just the surface details. This is what it means to look properly. It calls for curiosity and the readiness to investigate subtleties that might otherwise go unnoticed.
However, seeing clearly is more than just observing. Perception and interpretation are combined to create it. Clear vision involves bridging the emotional and intellectual with the visual. It is the capacity to identify patterns, find beauty in the ordinary, and extract meaning from the chaos. Cartier-Bresson’s philosophy serves as a reminder that our perspective and intent are more important than our tools, be they cameras, pens, or even our voices. The clarity of our vision is where the real artistry is found.
Note: This article was first published in Volume XVIII, Issue I print edition of The Red Chronicles.