Taken with a Diana, massive light leaks basically ruined the film...but not the image I guess...

I don't like this one ; and I don't agree on it getting featured.It's not decisive, and just wierd.Sorry to burst the bubble but I'm just being honest.

I like this one. It captures that moment right when the water hits the feet.

Not decisive...? his feet are above the water as if he is levitating, I can dig the not liking it part or the just weird statement, that is all subjective but I'll argue the concept of it being a shot which conjurs the meaning of Bresson's phrase...

A theme like this invariably sets up a comparison to the original artist, in this case Bresson. Those are big shoes to fill. Nonetheless, it's a valuable exercise.

It seems to me all skilled artists, whether photographers, painters, sculpters, etc. capture in their medium Bresson's "decisive moment." So, what is a decisive moment? That question can be debated forever, so perhaps an easier question to ask is, What is NOT a decisive moment? After studying some of his photos, it's clear that almost none of his photos have to do with a freeze action effect. (The only one that immediately springs to mind is the puddle jumper - Behind the Gare Saint-Lazare, 1932). Bresson seemed more concerned and interested in capturing the essence of humanity than capturing a technically perfect image, such as freeze action. Most of his work had nothing to do with freezing a fleeting moment. It had everything to do with peeling back the onion layers of humanity, and revealing them in all their tender, profound, and horrible glory. The proud, happy boy walking along with a big bottle of wine in his arms. People having a picnic along the Marne river. A homeless man and a cat staring at each other in a New York city alley. There's nothing "freeze action" about these images.

Many of the featured images in this theme are freeze action. They're good shots, but they don't reveal much to me about humanity, per se.

This image brings back memories of going to the beach as a kid and jumping the waves with my sister. It's doesn't go all that deep in revealing humanity; it hints at it...and the old quality of the image lends itself to the effect.

I concur with your thoughts on Bresson and the elusive capture of humanity but part of the "theory," for lack of a better word, of "the decisive moment" must also be the discussion of the stopping of this time at the correct moment to make an intriguing image. One could argue that any image is about catching a fleeting moment, but what we take away from those moments can be subjective. Bresson was criticized early on as a mere snapshooter, obviously he proved his critiques wrong in the end. His puddle jumper image definitely is the image that comes to mind when one hears his famous phrase...his own definition, ‘the simultaneous recognition, in a fraction of a second, of the significance of an event as well as the precise organization of forms which gives that event its proper expression" leads me to believe that he did mean capturing action, no matter how mundane, trivial or exciting that action might be. "The smallest thing can be a great subject," that quote from The Decisive Moment is one I took to heart when I was 17 and first read it in the library (BTW the book is available online FREE at http://www.e-photobooks.com/cartier-bresson/decisive-moment.html for those who have never seen it) and still hold on to that notion today. Your comments are extremely appreciated and thought provoking.

tread, I see what you're saying. As you say, there's a lot of room for subjectivity, which makes a conversation of this type full of opportunity for misunderstandings.

Thanks so much for the link, which I perused. In doing so, I'm still unable to come to a conclusion other than this: fundamentally Bresson concerned himself about humanity and was driven to capture "decisive moments" that embody the toil, the joy, the sorrow of mankind. Relatively few of his images are "freeze action." Technically speaking, many could have been taken a second (or many seconds) before or after.

Today's cameras are far more advanced than what Bresson used to produce the bulk of his work. An average digital job can fire off multiple images of great clarity, freezing all kinds of action. For example, a drop of water falling into a still puddle, creating that ripple effect with a rebound drop. This can be a delighful kind of visual treat. The shutter had to be tripped at a specific instance to capture the whole effect. But is it a “decisive moment?”

I hope I’m not coming off as a broken record here. I do like your image, “decisive moment” or not. Mostly, I appreciate the opportunity to try to make a compelling argument with someone. Thanks for your thoughtful reply and your time.

This photo makes my toes feel cold.

Funny I had a recent conversation about "The Decisive Moment" with a shooter who is wowed by his new digital equipment and I brought up the reality of being able to fire 6 frames per second, never taking a light reading or focusing and with the display on never even looking into the viewfinder. Granted, ultimately, we should only judge the final image I guess, but there is some humanity, some warmth lost with the reliance on the equipment always getting it right. I don't want to sound like a Luddite. I use digital equipment along with old film cameras and I work as a graphic designer who has been "digital" since PhotoShop 1 even though there wasn't a 1 in front of it then! With all of that said, Bresson's notion of The Decisive Moment is still relevant, especially in photojournalism. You spoke of his humanity earlier and honestly taking The Decisive Moment out of the context of photograph and back into the context of photographer leads me to think that a shooter's decision when and what to click will never be replaced by technology.

Again, just talking about this subject is inspirational and no, do not worry, you don't sound like a broken record, you are merely speaking on something you are passionate about and that in and of itself is refreshing.