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In January 2008, staff from the National Media Museum travelled to the Fondation Henri Cartier-Bresson in Paris, to film interviews with Agnès Sire (Director of the Fondation HCB), and Martine Franck (photographer and President of the Fondation HCB). These interviews give personal insights into Cartier-Bresson, the Fondation, and the history of the scrapbook and subsequent exhibition. For full information on the exhibition at the National Media Museum in Bradford, read more here: http://www.nationalmediamuseum.org.uk..

In January 2008, staff from the National Media Museum travelled to the Fondation Henri Cartier-Bresson in Paris, to film interviews with Agnès Sire (Director of the Fondation HCB), and Martine Franck (photographer and President of the Fondation HCB). These interviews give personal insights into Cartier-Bresson, the Fondation, and the history of the scrapbook and subsequent exhibition. For full information on the exhibition at the National Media Museum in Bradford, read more here: http://www.nationalmediamuseum.org.uk...

In 1973 Henri Cartier-Bresson spoke as part of a series organized by Cornell Capa. HIs observations on photography are paired here with many of his most well known images. In this excerpt of the DVD available from icp.org, you get a sense of his succinct insightful observations on the photographic medium.

interview with cartier bresson

2006 documentary on Henri Cartier-Bresson part 1 of 10

Jodi Cobb, Photographer; Karen Kasmauski, Photographer; Annie Griffiths Belt, Photographer; Book: "Women Photographers at National Geographic" [National Geographic]; Various photographs /// Bruce Weber, Photographer; Various photographs; 1 clip from "The Teddy Boys of the Edwardian Drape Society" [Little Bear Productions] /// Excerpt from CR interview with Henri Cartier Bresson, Photographer (7/6/00)

Interview with Bruce Davidson, The Kojo Nnamdi Show (WAMU/Chicago), November 2006 Q: You're on the streets of Chicago, wandering into Pentecostal churches, how did that initial roaming around, years ago, play out later in life? BD: I think that I was a born loner. My mother was a single parent, working in a torpedo factory in the Midwest, and I didn't like school. I felt very isolated. And so I could do both my reading and my writing at the same time, with a camera. Q: And that is what became the trajectory for the rest of your life. I want to go to 1961, because even as I look at the book "Time of Change", I think it was before you ever rode with the Freedom Riders that you got a job to shoot fashion models. And you got caught-up in that - it was quite glamorous. But at the time, your heart wasn't really in it, was it. BD: In 1959, I photographed a Brooklyn gang for a year. And when that was published, Alex Lieberman at Vogue asked me if I'd like to do fashion. He'd been told by Cartier-Bresson that I could do fashion because I could do gangs - it doesn't make a difference. So I began to do fashion to support other things I wanted to do. But my heart wasn't in it. The models were too tall and too sophisticated for me, and I'm a sloppy dresser.