I have recently started reading The Mind’s Eye by Henri Cartier-Bresson and it has made me realize why I have felt uncomfortable with the whole ‘decisive moment’ approach, which seems so fundamental in both documentary and street photography. At one point, he describes what he does as ‘active flânerie’. This suggests photography as the practice of detached people-watching. Everything else is stage setting for the human drama that is meat and drink for the flâneur. Susan Sontag picks up on the connection between flânerie and photography to highlight its voyeuristic and exploitative potential.
I certainly don’t want to be voyeuristic or exploitative in my photography. Nor do I particularly want to put people-watching at the heart of my practice. What drew me back into photography was landscape photography (like so many people, I am a great fan of Ansel Adams).
I am interested in somehow capturing / encapsulating / representing the particularity (the this-ness, the haecceitas, the inscape if you want be theological about it) of my subjects. I don’t think I can do that by shots taken at decisive moments or by looking for the dramatic. I’ll know it when I see it. I’ll see it when I understand it. And understanding takes time.