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  1. To je bagić koji zavisi od video karte i od toga kako se slože kockice. Bukvalno. Na Talku ima opširna žvaka o tome, na primer ovde http://archicad-talk.graphisoft.com/viewtopic.php?t=13664 Jedini lek je da se prebaci sve u nov fajl. Ne mora pešaka, može forward merge ili, bolje, merge u čist fajl koji je počet iz templatea. Oko forward merge i sličnih egzibicija videti ovde http://archicad-talk.graphisoft.com/viewforum.php?f=8 Nemate template? E, to ne valja. Template treba imati, bez obzira na softver.
  2. @mirtodor, jeste, prihvata, jer se izvukao iz situacije. Banalno rečeno, ispala može svakome da se desi, koliko god ta osoba bila iskusna. Verovao ili ne, desilo mi se nekoliko puta da me pomešaju sa konobarom (iako jesam, ali se to nije dešavalo u mom gradu, i od ljudi koje znam pa da kažeš zezanje), samo zato što sam imao na sebi belu košulju, napred zakopčavanje, i crne pantalone. : ) Verovatno zbog slike koja se stvarala godinama i predrasude koja se formirala, i za koju su (velikim delom) odgovorni upravo oni koji rade u advertajzingu - svaka žena je sekretarica (dok se ne dokaže suprotno). Ako već imam slobodu da se razmahnem sa mogućim tumačenjima, mlada ženska osoba u spotu, pa još generalna direktorka firme je prototip uspešne žene i razbijanje predrasuda, odnosno tradicionalnog shvatanja žene isključivo u ulozi sekretarice, kafe kuvarice i čistačice (poslednje zanimanje nisam rek'o na politički korektan način). Jedan od primera ekstremnog seksizma je u spotu iznad. Na kraju tog spota, pošto se smejanje završilo, ostaje žena kontejner, simbol eksploatacije i predmet ostvarenja uvrnutih frustracija (da li me ovo mišljenje čini manje proevropski orijentisanim?) O.K., to je sloboda, neka svako bude bilo šta, misli kako hoće i bude to što jeste, šta god da je. Međutim, lik u spotu se stidi sopstvenog izbora koji mu je dala sloboda, od koje bi rado pobegao. Izvlači se na inteligentan način, ali je u ovoj situaciji gubitnik, jer će devojka ubrzo da ode. Ako uspe da pobegne. Ova priča nema nastavak, glavni glumac je buldog. Tu niko ne dobija, svi gube, a postoji mogućnost da pas bude kažnjen i izbačen na ulicu jer je ofir'o gazdu. Može i tako da se posmatra. Slažem se, to što je rekao je istovremeno i ulazak u njen intimni prostor, napadno intimiziranje bez da ga je iko zvao, Mi nemamo to zezanje, otkud ti ideja da mali ti naručuješ umesto velike mene, i da pijem isto što i ti? Bože, svašta! Da nije reč o neotesanoj zamlati, koja na američki način glumi nadmenog wise guy-a, pokazuje njegovo ponašanje. Obrati pažnju na klimoglave - 2 puta dok naručuje; jedan je "Dobar dan/Zdravo", drugi potpomognut obrvama "Hvala" i još jedan u levo na 0:23 kojim potvrđuje to što je rekao. Sve to znači da poznaje manire koji se podrazumevaju. Takođe, važan momenat u nastavku je njegov prirodan osmeh (smešak) koji ga i dalje drži na zemlji, ne poklapa direktorku u smislu U, al' sam je zajeb'o! (ne seiri se, kažu stari...) Kad kaže: "Neka budu dva" to je, između ostalog, cold blood hazarderski deo ličnosti iskusnih osoba. Spreman je na rizikovanje: -Koliko? -Pet. -Neka bude deset. Ne mogu laserski precizno da ti objasnim štos (onda to i nije štos), mogli bismo do sutra o tome da li je humor sa ukusom ili bez, da li ga uopšte ima i gde. Recimo da je ovo jedan načina small talk-a, jer "svi veliki razgovori počinju neobaveznim čavrljanjem" i da je sterilno-korporativno u kombinaciji sa onim običnim svakodnevnim, van radnog mesta. Na kraju, moguće je da sam se identifikovao sa likom. E, ako bi u (ne)realističnom rijalitiju Sugar rek'o - You're fired! onda je zaslužio da mu se gafadžija unese u facu i uz pogled manijaka zaurla: But you are Philips!!! i kreće bacanje pegle... Od prvog riga, Donaldu ispada tupe, možeš da zamisliš kako izgleda Šećerko! Ali, to bi bilo neiskusno:)
  3. Gomiletina dzaba stvari: http://archicad-talk.graphisoft.com/viewtopic.php?t=2434 Ali stvarno dzaba! Prodjite kroz temu, ima gomila linkova. Takodje: http://archicad-talk.graphisoft.com/object_depository.php?
  4. Gruba skica. Za ove glave na vrhu idem neso na foru "no hear no see no talk". the King and his consultants
  5. Ovo je imitacija Talk Talk reklame.
  6. Molio bih vas da prilikom postavljanja nekog ovakvog ili sličnog pitanja naznačite konfiguraciju i OS da bi mogli što efikasnije i kvalitetnije da vam pomognemo! Koliko sam shvatio elementi u Object tool-u postoje ali se preview ne vidi? Za ovakav problem još nisam čuo! Meni se tako nešto nikada nije dešavalo! Ja bih ipak proverio u Library manageru dali su i koje biblioteke učitane. Proverio bih i kompatibilnost grafičke kartice, možda novi drajver...! http://archicad-talk.graphisoft.com/compatibility.php?# Kada se radi o problemima sa ArchiCAD-om ponekad pomaže poseta njihovom forumu koji je doduše na engleskom: http://archicad-talk.graphisoft.com/
  7. evo, samo za vas, da ne kazete kako sam cicija :D , kupio sam vam kompletan transkript intervjua. ps. svako ko prochita duguje mi po $10CAD :P CHARLIE ROSE Transcript #2720 July 6, 2000 CHARLIE ROSE, Host: I sit here among all of these magnificent photographs-- HENRI CARTIER-BRESSON, Photographer: Magnificent? I don't know. CHARLIE ROSE: What's the word? HENRI CARTIER-BRESSON: It's reality. CHARLIE ROSE: Reality? HENRI CARTIER-BRESSON: Yeah. CHARLIE ROSE: But this is history. This is people. This is you. This is document. HENRI CARTIER-BRESSON: Who said that-- a photographer-- it's DeGaulle, said [speaks in French]. I can't-- DeGaulle said photographers, like-- CHARLIE ROSE: Shooters. HENRI CARTIER-BRESSON: --like artillerymen-- CHARLIE ROSE: Yes. HENRI CARTIER-BRESSON: --aim properly, shoot quick and scram. CHARLIE ROSE: Just go! HENRI CARTIER-BRESSON: Yes. CHARLIE ROSE: Was he right? HENRI CARTIER-BRESSON: Quite right. CHARLIE ROSE: HENRI CARTIER-BRESSON in conversation in Paris. Cartier-Bresson Calls Himself `a Non-Violent Anarchist' CHARLIE ROSE: HENRI CARTIER-BRESSON is one of the century's icons of photography. He has transformed the art of photography with his uncanny sense of timing, his intuition in seizing the right moment, his sensitivity and his sense of geometry. His photographs have given a meaning to the world they arrest. He is a marksman and a sharpshooter whose main tool is spontaneity. By the early '70s, he stopped making photographs and returned to painting and drawing. He gives few, if any, interviews these days. I had the extraordinary privilege to spend an afternoon with him in Paris recently, where he lives with his wife, photographer Martine Franck. This is, in this interview, this conversation, the portrait of an artist who refused to be a passive onlooker in a world which moves perpetually. We begin this hour with RICHARD AVEDON, a friend of mine and certainly one of the great photographers today. He has in his own lifetime known, admired HENRI CARTIER-BRESSON. RICHARD AVEDON, Photographer: Charlie, just before you say a word, he is the greatest photographer of the 20th century. He is like Tolstoy was to literature. He covered all the ground in a vast way -- politically, socially -- and the most personal and complex insight into the human personality. He's-- go ahead. CHARLIE ROSE: Well, you say he's like Tolstoy. RICHARD AVEDON: Yeah. CHARLIE ROSE: Why? RICHARD AVEDON: Well, he-- he showed the moving of history, the movements of history. He was in China. He was in India. He was everywhere that marked the movement of the 20th century. I'm in awe of him! I'm absolutely in awe of him. Everybody's a Cartier-Bresson baby. They all have taken from him. CHARLIE ROSE: He was a master which everybody followed. RICHARD AVEDON: That's right. CHARLIE ROSE: In photography. RICHARD AVEDON: Yeah. That's right. I mean, the pictures go beyond any breaking down of what a picture is supposed to be or any intellectualizing about it. When you hear Bach, you know you're in the right place. And to have lived in the time of Cartier-Bresson-- CHARLIE ROSE: Yeah. RICHARD AVEDON: --is something in itself. CHARLIE ROSE: Your friend and mine, Adam Gopnik-- RICHARD AVEDON: Yeah. CHARLIE ROSE: --thinks he's one of the five great artists of the 20th century. RICHARD AVEDON: Yeah. And why not? Of course. CHARLIE ROSE: Can you tell what-- what made him great? I mean, or is it you look at it and you know. You see the greatness when you see it. I know when I see it-- RICHARD AVEDON: Well, I mean, there are-- if you had a career that had five great photographs, that would be pretty good. CHARLIE ROSE: Good. [laughter] RICHARD AVEDON: This is hundreds of them! Charlie, he never-- he did many-- CHARLIE ROSE: Five would be good. RICHARD AVEDON: Yeah. CHARLIE ROSE: He has hundreds. RICHARD AVEDON: Ten would be good. Nobody has that track record. And you know, I worship him. CHARLIE ROSE: Thank you. RICHARD AVEDON: Thank you. CHARLIE ROSE: Coming up now, a conversation with one of the great photographs of all time, many people say the best of his time, HENRI CARTIER-BRESSON. You once said, ``I don't take the photograph. The photograph takes me.'' HENRI CARTIER-BRESSON, Photographer: Yes. CHARLIE ROSE: What did you mean? HENRI CARTIER-BRESSON: Sensitivity. Intuition and sensitivity, and not want thing. Mustn't want. Must feel. CHARLIE ROSE: Feel? HENRI CARTIER-BRESSON: Yes, and receptive. CHARLIE ROSE: Composition for you? HENRI CARTIER-BRESSON: Geometry. CHARLIE ROSE: Geometry. Are you born with that, a sense of geometry? HENRI CARTIER-BRESSON: Has to be cultivated. CHARLIE ROSE: But you once said also about photography, ``Nothing worth knowing can be taught.'' HENRI CARTIER-BRESSON: Yes. What's your opinion? CHARLIE ROSE: I think that's probably true. On the other hand, there are things that you would expect of craftsmen. HENRI CARTIER-BRESSON: Teaching how to use a little finger. That's all. CHARLIE ROSE: Just the little finger. And to-- HENRI CARTIER-BRESSON: Well, your fingers to-- to be alive and-- I don't know. CHARLIE ROSE: Was your photography influenced by your early interest in art? HENRI CARTIER-BRESSON: My photography is just an instant drawing. You have to guess, and quick, quick. That's the advantage of the photography. But you need one, and with drawing you need three fingers. And it's a meditation, drawing, and photography is just shooting-- bang! CHARLIE ROSE: I look around this room, and there are all these photographs of yours. They are magnificent, and the most admired-- not my opinion, everybody's opinion. You never hang your own photographs on your walls at your home? HENRI CARTIER-BRESSON: No. Never. CHARLIE ROSE: You never printed your own photographs. You would just send them away. HENRI CARTIER-BRESSON: Yes, print [unintelligible] I don't know how to print it. Takes time and-- I like shooting. That's all. CHARLIE ROSE: Just shooting. HENRI CARTIER-BRESSON: Yes. CHARLIE ROSE: What is it you like about it? HENRI CARTIER-BRESSON: I don't think of photography. I think of what I see and-- and geometry. That means everything has to be composed properly. CHARLIE ROSE: Today you-- HENRI CARTIER-BRESSON: Because I started with drawing. CHARLIE ROSE: And you returned to drawing. HENRI CARTIER-BRESSON: I never quit drawing. A camera is a way of drawing. CHARLIE ROSE: When you take the photograph, is there a moment for you that you know when to snap? HENRI CARTIER-BRESSON: When the subject takes me. CHARLIE ROSE: When the subject takes you? HENRI CARTIER-BRESSON: Then I'm receptive, and I shoot. But just to concentrate and concentrate. In the silence, and you mustn't want. You must be receptive. Don't think, even. The brain's a bit dangerous. Sensitivity of the-- the flavor of the-- CHARLIE ROSE: It's true for drawing, as well? HENRI CARTIER-BRESSON: Life in general. CHARLIE ROSE: In general! Yes! Very good. It's a philosophy of life is to-- HENRI CARTIER-BRESSON: That's it. CHARLIE ROSE: --let it-- soak it up, let it overwhelm. Before the war, were your intentions, were the way you photographed different than it was after the war, when you became-- created Magnum and became a photojournalist? HENRI CARTIER-BRESSON: All these are labels. CHARLIE ROSE: Doesn't mean anything. HENRI CARTIER-BRESSON: Doesn't mean anything. It's a relation with reality, to be present, to be sensitive and participate, receptive and participate. CHARLIE ROSE: Did surrealism affect you in your photography? HENRI CARTIER-BRESSON: I have no idea. Never thought of it. CHARLIE ROSE: What did it mean to you when you were a young man and you were associating with the movement and young surrealists? HENRI CARTIER-BRESSON: I don't know. CHARLIE ROSE: You were very young at the time of-- HENRI CARTIER-BRESSON: I don't know what ``young'' means. You are alive or not. CHARLIE ROSE: Yes? HENRI CARTIER-BRESSON: Wrinkles have nothing to do with it. CHARLIE ROSE: Yeah. But the brain is young. HENRI CARTIER-BRESSON: Charlie! CHARLIE ROSE: The heart is young. HENRI CARTIER-BRESSON: I'm an anarchist. CHARLIE ROSE: An anarchist? HENRI CARTIER-BRESSON: Yes. CHARLIE ROSE: In what way? HENRI CARTIER-BRESSON: Non-violent. CHARLIE ROSE: But an anarchist in what way? What is it you want to-- if you look at-- HENRI CARTIER-BRESSON: I'll answer only in front of a police. CHARLIE ROSE: [laughter] This life that you have lived, is it not a life of anarchy, is it? HENRI CARTIER-BRESSON: Anarchism is an ethic. It's a way of behaving. CHARLIE ROSE: And so how have you behaved? HENRI CARTIER-BRESSON: I'll answer in front of a police only. CHARLIE ROSE: Something must have made you want to be a photographer. HENRI CARTIER-BRESSON: I don't consider myself a photographer. I'm using a camera, but-- everybody-- there's millions of photographers. It's what you see, the way you [unintelligible] CHARLIE ROSE: So you see yourself simply as an artist? HENRI CARTIER-BRESSON: I'm just a human being. Anybody sensitive is an artist. What's all this? CHARLIE ROSE: Recently, I've had lots of conversations about where the world is. And tell me about this-- globalization, what it'll mean to Europe. Do you think about that? Does it bother you? Do you worry about where this world is going and how fast it's changing and-- and whether something humane is being lost, something of culture to be treasured is lost? HENRI CARTIER-BRESSON: This present society is crumbling to pieces. And fast. CHARLIE ROSE: In what way? HENRI CARTIER-BRESSON: Tensions are bigger and bigger. CHARLIE ROSE: Big and-- HENRI CARTIER-BRESSON: Rich and poor. CHARLIE ROSE: Rich and poor. HENRI CARTIER-BRESSON: And between rich countries and poor countries. CHARLIE ROSE: Those with technology and not. HENRI CARTIER-BRESSON: And more-- how do you call that? More [unintelligible] is extremely dangerous. CHARLIE ROSE: Because? HENRI CARTIER-BRESSON: [unintelligible] the whole stuffing and moving like ``Brrrr!'' CHARLIE ROSE: Homogenation? It's all homogenized. HENRI CARTIER-BRESSON: And anarchism is an ethic. CHARLIE ROSE: That you live by. HENRI CARTIER-BRESSON: Yes. And act, as well. CHARLIE ROSE: And act? HENRI CARTIER-BRESSON: Yes. CHARLIE ROSE: Would you like the first line of your obituary to say what, ``He was an anarchist''? HENRI CARTIER-BRESSON: Obituary will come in due time. No rush. CHARLIE ROSE: Yeah. When you look around here, though, it is your history. It is your history-- Africa-- you know, you went to Africa as a young man. Was it influential for you? HENRI CARTIER-BRESSON: Well, I caught blackwater fever. CHARLIE ROSE: I know. HENRI CARTIER-BRESSON: And all my fortune was told already. CHARLIE ROSE: By Max Jacob's mother? HENRI CARTIER-BRESSON: Tarot. CHARLIE ROSE: With Tarot cards. HENRI CARTIER-BRESSON: With the Tarot cards. CHARLIE ROSE: She said that you would marry an Asian woman. She said you would find something you wanted to do well. What else did she say? HENRI CARTIER-BRESSON: When I'll be very old, I'll marry somebody, and I'll be very happy. CHARLIE ROSE: That's exactly-- [laughter] Martine, did you hear that? It's-- she said when you were old, you would marry someone. HENRI CARTIER-BRESSON: Oh, yes. CHARLIE ROSE: And it would make you very happy. HENRI CARTIER-BRESSON: Yes. CHARLIE ROSE: What does that say? I mean, the prophecy was pretty clear and pretty accurate. HENRI CARTIER-BRESSON: Time doesn't count. It's all-- all a problem of [unintelligible] time and space and-- CHARLIE ROSE: It's predetermined. HENRI CARTIER-BRESSON: Yeah. CHARLIE ROSE: There is a story, though, that you sent a letter to your grandfather because you thought you were dying, and you said, ``I want to be buried in Normandy, and I want to listen to a Debussy string quartet.'' HENRI CARTIER-BRESSON: Yes, a Debussy string quartet. He said ``That comes too expensive. Come back to [unintelligible]'' CHARLIE ROSE: ``Come back! It's too expensive to have a funeral that way.'' HENRI CARTIER-BRESSON: Oh yes. But you pee black. CHARLIE ROSE: That's an indication of the disease. HENRI CARTIER-BRESSON: Oh, yes. Usually, you die after a few days. CHARLIE ROSE: You thought you would die? HENRI CARTIER-BRESSON: I was unconscious. CHARLIE ROSE: You, like many other young men and other young Frenchmen, set out to see the world, and especially the colonialized world-- India, Africa, Asia. Was that just the spirit of an anarchist? What was your motivation? HENRI CARTIER-BRESSON: To live. CHARLIE ROSE: To live and learn. HENRI CARTIER-BRESSON: Yes. CHARLIE ROSE: Of all these photographs -- Camus, Gandhi -- they signal to many people the work of one of the great artists of our century-- you. That means something. It doesn't? HENRI CARTIER-BRESSON: No. But did you mention that picture of Gandhi? CHARLIE ROSE: Yes? HENRI CARTIER-BRESSON: I gave him a book published by the Museum of Modern Art, and there was a photograph of-- in front of the house. CHARLIE ROSE: Yeah. Rene. HENRI CARTIER-BRESSON: [unintelligible] say it was magnificent, and he said-- but I told him it's a great French poet [unintelligible] and so on. CHARLIE ROSE: Yeah. HENRI CARTIER-BRESSON: And he said, ``Death, death, death.'' He closed the book, and half an hour later he was killed. CHARLIE ROSE: What does that say, something about the preciousness of life, don't you think? HENRI CARTIER-BRESSON: Yes. And I was very lucky because I had always in the hip pocket-- CHARLIE ROSE: Money. HENRI CARTIER-BRESSON: No, films. And I had about five rolls, and I followed the funeral of Gandhi from then on. CHARLIE ROSE: What makes a great photograph for you? HENRI CARTIER-BRESSON: Combination of shape, geometry, and something that you can't describe, which is sensitivity or imagination. I don't know. CHARLIE ROSE: And you can't teach it. HENRI CARTIER-BRESSON: No. CHARLIE ROSE: Do you have any regrets, any regrets at all about the life that you have lived? HENRI CARTIER-BRESSON: Regrets that Chim and Capa killed too soon. CHARLIE ROSE: Robert Capa and David Chim were killed too soon. You got to know Capa-- HENRI CARTIER-BRESSON: We are of the same age. CHARLIE ROSE: And friends. HENRI CARTIER-BRESSON: No. There was a unique thing, each one being very different from the other. Chim was a thinker, Capa an adventurer. CHARLIE ROSE: Did Capa help you form Magnum? HENRI CARTIER-BRESSON: No, it's Chim who had the idea. CHARLIE ROSE: Of Magnum. HENRI CARTIER-BRESSON: Yes. He was a thinker, and Capa an adventurer. It was quite different. CHARLIE ROSE: And you were? HENRI CARTIER-BRESSON: An [unintelligible]. CHARLIE ROSE: No. No. HENRI CARTIER-BRESSON: But complete unity. CHARLIE ROSE: Complete unity? HENRI CARTIER-BRESSON: Except that Capa was thinking harmony. CHARLIE ROSE: Yeah? HENRI CARTIER-BRESSON: And Chim knew how to manage to make more money. Capa was a gambler, but he didn't always win on horses, not always. And it had no importance. We didn't give a damn about all that. CHARLIE ROSE: Matisse? Did you know him? You photographed him. A friend? HENRI CARTIER-BRESSON: Can't be a friend. I'm a young man. I was a young man. I knew Matisse. I knew Bernard. I knew Picasso, but Picasso wasn't a painter. In the beginning, yes. After he was manipulating everything. But Bernard all his life long-- CHARLIE ROSE: Was a painter. HENRI CARTIER-BRESSON: Oh, yes. And Matisse from beginning and the end. CHARLIE ROSE: You never cropped your photographs. HENRI CARTIER-BRESSON: No, never. No, no crop. CHARLIE ROSE: You would not allow it. HENRI CARTIER-BRESSON: It's not a question of allowing. If you shoot properly, well, it's there. CHARLIE ROSE: Yeah. You also never took a lot of photographs of the same scene, never more than-- HENRI CARTIER-BRESSON: No, no. There is no rule. Depends. Sometimes you shoot, and you scram. CHARLIE ROSE: Like DeGaulle said. HENRI CARTIER-BRESSON: Yes. CHARLIE ROSE: Yeah. HENRI CARTIER-BRESSON: No, because things change from second to second, so it's no longer the same thing. CHARLIE ROSE: Why did you give up photography and start primarily drawing? HENRI CARTIER-BRESSON: I never stopped photography. CHARLIE ROSE: My impression was that you were primarily drawing. HENRI CARTIER-BRESSON: I'm drawing, yes, but sometime I have a camera, but it's a tool or another tool. CHARLIE ROSE: Is that how you see the camera, simply as a tool, like a brush? HENRI CARTIER-BRESSON: Yeah. Exactly. CHARLIE ROSE: Do you carry one with you all the time? HENRI CARTIER-BRESSON: Not today. CHARLIE ROSE: Not today. HENRI CARTIER-BRESSON: You never know. I should. CHARLIE ROSE: A pen? HENRI CARTIER-BRESSON: No, a pencil. A pencil. CHARLIE ROSE: A pencil. What's been for you the best part of living, the best time? HENRI CARTIER-BRESSON: When I escape from prison. CHARLIE ROSE: The third time. Twice they caught you. HENRI CARTIER-BRESSON: Yes. Everything is interesting. CHARLIE ROSE: But being in prison was awful. HENRI CARTIER-BRESSON: Yes. CHARLIE ROSE: You escaped with what, with Claude Franke [sp]? HENRI CARTIER-BRESSON: Claude Frank, yes. CHARLIE ROSE: How did you escape? HENRI CARTIER-BRESSON: You think of all those who haven't been able to. I have been lucky. CHARLIE ROSE: You think of those that didn't make it. HENRI CARTIER-BRESSON: Yes. Prava Ruska [sp]-- that's where one was sent when you couldn't escape from them, far away in Poland. You go down to [unintelligible] wasn't so far. Yes, it's far, all that, now. CHARLIE ROSE: It's far? HENRI CARTIER-BRESSON: Uh-huh. CHARLIE ROSE: But it's powerful. HENRI CARTIER-BRESSON: Yeah. CHARLIE ROSE: We don't seem to be any more civilized as time passes-- Bosnia, Kosovo, Srebrenica-- the inhumanity of all the violence, the unnecessary death. Did the war change you? HENRI CARTIER-BRESSON: Oh, it was obvious. CHARLIE ROSE: Never in color. HENRI CARTIER-BRESSON: I like painting. CHARLIE ROSE: In color? HENRI CARTIER-BRESSON: Yes. CHARLIE ROSE: But no photographs in color. HENRI CARTIER-BRESSON: Yes. CHARLIE ROSE: This is your early work, some of it on the walls here. It's Allees du Prado in Marseilles in 1932. What do you see? It's perfectly composed. HENRI CARTIER-BRESSON: I don't know. CHARLIE ROSE: This is the time you were in Mexico. HENRI CARTIER-BRESSON: Yes. Matisse liked it. I gave him a print. CHARLIE ROSE: Why did he like it, do you know? HENRI CARTIER-BRESSON: I don't know, but it's properly composed [unintelligible] I know when to shoot. That's all. CHARLIE ROSE: You know when to shoot? HENRI CARTIER-BRESSON: Yes. If I had a camera-- CHARLIE ROSE: Right now. HENRI CARTIER-BRESSON: Yes. CHARLIE ROSE: You would know. HENRI CARTIER-BRESSON: Here yes, and there no. You have to give satisfaction to your eye. CHARLIE ROSE: Satisfaction to your eye. HENRI CARTIER-BRESSON: Yes. That means yes, and then no. It's very subtle, all this. And secret, at the same time. CHARLIE ROSE: It was what you were born to do, photography. Yes. HENRI CARTIER-BRESSON: I don't know. CHARLIE ROSE: I do. This says it. This says it. This says it. You found the right tool for you. HENRI CARTIER-BRESSON: Yes, but I had-- I had many fathers. CHARLIE ROSE: Who? HENRI CARTIER-BRESSON: Kertez [sp], Walker Evans. CHARLIE ROSE: Others? HENRI CARTIER-BRESSON: Especially Kertez. CHARLIE ROSE: How is he a father, just because of the quality of his work? HENRI CARTIER-BRESSON: Yes, quality, yes. [unintelligible] didn't have any-- CHARLIE ROSE: Yeah. HENRI CARTIER-BRESSON: The quality of his work-- poof! CHARLIE ROSE: Who else? Others? HENRI CARTIER-BRESSON: Chim and Capa. CHARLIE ROSE: Yeah, of course. You love to go to foreign countries and foreign cities and just walk around, just walk around. Capturing what? HENRI CARTIER-BRESSON: If I knew, I wouldn't have done it. CHARLIE ROSE: It's just curiosity? HENRI CARTIER-BRESSON: It's-- no, it's living and looking and-- it's a way of drawing. I had trouble with my father with the dog. CHARLIE ROSE: It bothered your father? HENRI CARTIER-BRESSON: Yes, because I was washing it in the bathroom. CHARLIE ROSE: Yes? HENRI CARTIER-BRESSON: And my father said, ``But you have sisters.'' CHARLIE ROSE: This is an early passport photograph of you. HENRI CARTIER-BRESSON: This? CHARLIE ROSE: No, this one. HENRI CARTIER-BRESSON: Oh, it's Gretchen Powell took it. CHARLIE ROSE: Who? HENRI CARTIER-BRESSON: She was a photographer. CHARLIE ROSE: This is a still from Bunuel. You went to-- you talked to him about working as an assistant. HENRI CARTIER-BRESSON: Yes, but he didn't need an assistant. CHARLIE ROSE: Yeah. So then what happened when you went to see Jean Renoir? He hired you. HENRI CARTIER-BRESSON: Yes. I was second assistant. CHARLIE ROSE: You thought that you might like to be a filmmaker. HENRI CARTIER-BRESSON: No. CHARLIE ROSE: Then why did you go to work for him? HENRI CARTIER-BRESSON: All the visual aspects of film I was interested, but [unintelligible] for the dialogue. You find the right words, but we could do it only when we knew who would be acting that role. It was wonderful. In the morning [unintelligible] shoot for the afternoon. It was very expensive for the producer. But the strength of the films of Jean because it was immediately. He was a passionate person, and the passion drop, and nothing left. CHARLIE ROSE: You must feel -- you must feel that you have lived life to the fullest, well. You have grabbed it-- HENRI CARTIER-BRESSON: No complaints. CHARLIE ROSE: No complaints? HENRI CARTIER-BRESSON: No complaints. CHARLIE ROSE: No. HENRI CARTIER-BRESSON: No, no. CHARLIE ROSE: It's been-- HENRI CARTIER-BRESSON: Complaint-- CHARLIE ROSE: None. HENRI CARTIER-BRESSON: My way of acting I complain. Yes. CHARLIE ROSE: You mentioned Jean Renoir. You mentioned Jean Renoir. You went to work for him because he was a great man, because he was a great artist. HENRI CARTIER-BRESSON: A giant. CHARLIE ROSE: A giant. So are you. HENRI CARTIER-BRESSON: Stop it. CHARLIE ROSE: No, I'm not going to stop it. But why don't you accept that? HENRI CARTIER-BRESSON: I know better -- and ask my friends. CHARLIE ROSE: All of your friends would say the same thing. HENRI CARTIER-BRESSON: I'm an anarchist, fundamentally, and so it doesn't exist. CHARLIE ROSE: What does being an anarchist have to do? Being an anarchist has to do with the fact that there are these-- that this is extraordinary work on these walls, which is a reflection perhaps of an anarchist because you wanted to stir things up. You wanted to do something special. HENRI CARTIER-BRESSON: I plead guilty. Finished. CHARLIE ROSE: Not only that. I know this is embarrassing, but bear with me. You are a defining artist. If you take cubism, we know who the defining artists are, and so do you -- Bracque, Picasso, Cezanne. But in terms of photographs, you are a defining artist. A founder. And it's just so much talk to you. It has no meaning to you. HENRI CARTIER-BRESSON: I try to do better next time, that's all. CHARLIE ROSE: How do you get better than this? This work goes back to the '30s, the '40s, the '50s. I don't know of anyone who has taken better photographs anywhere, nor does anyone else, than what I see on these walls. HENRI CARTIER-BRESSON: I take portraits now. For me, it's the most difficult. CHARLIE ROSE: Why? HENRI CARTIER-BRESSON: Because you have to pretend that you're not there, that you're not taking. And then you shoot. I enjoy very much taking portraits. CHARLIE ROSE: You do? HENRI CARTIER-BRESSON: Yes. And now I'm taking portraits of you without a camera. That's the trouble. CHARLIE ROSE: That you don't have a camera? Portraits-- you like portraits because every face is different? HENRI CARTIER-BRESSON: Because it's very difficult. I wrote it somewhere, sorry to repeat it -- to put the camera between your skin and your shirt. It is very delicate because that's what's painting a portrait -- the camera, between your shirt and your skin. It's looking at people like that. Guessing. Guessing, guessing. You have to guess. All the time guessing. CHARLIE ROSE: Guessing? HENRI CARTIER-BRESSON: What, I don't know. But guess -- the significance of a face. CHARLIE ROSE: You don't like to be photographed. HENRI CARTIER-BRESSON: I don't care really. CHARLIE ROSE: You don't? You don't care. HENRI CARTIER-BRESSON: It depends. It depends. CHARLIE ROSE: There is a story that once at Oxford when you were given an honorary degree, what did you do? HENRI CARTIER-BRESSON: I had the cap and gown. No, because it's embarrassing almost. CHARLIE ROSE: It is? HENRI CARTIER-BRESSON: To be well-known is very embarrassing. You're grateful but-- CHARLIE ROSE: Embarrassing. HENRI CARTIER-BRESSON: Sure. CHARLIE ROSE: It gets in the way. HENRI CARTIER-BRESSON: For an anarchist it is embarrassing. CHARLIE ROSE: I can't let you get away with this. Define anarchist for me. HENRI CARTIER-BRESSON: Anarchism is an ethic. CHARLIE ROSE: What's the ethic? You can define an ethic. HENRI CARTIER-BRESSON: An attitude. A way of behaving. Electing and loving, finally. CHARLIE ROSE: Finally about loving. HENRI CARTIER-BRESSON: Absolutely. Mentally, spiritually and eventually physically. CHARLIE ROSE: But what is the attitude? What is it? What is the attitude that an anarchist has? HENRI CARTIER-BRESSON: Fulfilling a necessity with oneself, to avoid compromises. CHARLIE ROSE: Compromises? HENRI CARTIER-BRESSON: Yes. Yes. And not be stiff either. It's a very thin margin. No? CHARLIE ROSE: No. Yes, I agree with you. HENRI CARTIER-BRESSON: And living is very special in this society. CHARLIE ROSE: Living is what? HENRI CARTIER-BRESSON: With the world collapsing, you can't go back. CHARLIE ROSE: It will never be again the Paris of the '40s. HENRI CARTIER-BRESSON: No, something else. CHARLIE ROSE: Something else? Perhaps something less. HENRI CARTIER-BRESSON: Keep on fighting. CHARLIE ROSE: Ah, there is the anarchist. Keep on fighting. Fight until you die. Talk to me about these photographs, whatever you think. This one. HENRI CARTIER-BRESSON: You know what they're waiting for? CHARLIE ROSE: No. HENRI CARTIER-BRESSON: The signal that was a curtain out of a window. That was a signal. CHARLIE ROSE: During the Resistance? HENRI CARTIER-BRESSON: During the war. Now it's a bank and a bistro. His nails were black, Jacques Cometi. CHARLIE ROSE: Jacques Cometi, yes. HENRI CARTIER-BRESSON: And he used to take ham and tear it with his fingers and eat it like this with the egg on top. And his fingers were always full of charcoal. CHARLIE ROSE: Did you have to race ahead of him to get this photograph? HENRI CARTIER-BRESSON: I was waiting for him to get into-- to go into the cafe. I was waiting on the sidewalk for him and I shot. CHARLIE ROSE: It is said about you that cafes you enjoyed more than Comedy France; that your theater for you was to go to the cafe. HENRI CARTIER-BRESSON: So many people of that generation. CHARLIE ROSE: Pierre Bernard. Pierre Bernard. A good painter. HENRI CARTIER-BRESSON: For me he was the top. CHARLIE ROSE: Do you photograph him, say Bernard, because he's a friend, because he's an artist, because-- HENRI CARTIER-BRESSON: I can remember only one thing. CHARLIE ROSE: What do you remember? HENRI CARTIER-BRESSON: He asked me, ``Why did you shoot me then?'' And I said, ``Why did you put the touch of yellow just a minute ago on this painting?'' And he couldn't answer. CHARLIE ROSE: Yes, you made your point. HENRI CARTIER-BRESSON: It's beyond talking to people. CHARLIE ROSE: Is that true? You had no answer why you shot him then, in the same way that he doesn't know why he put yellow? HENRI CARTIER-BRESSON: It's elusive. It doesn't come with words or with tongue. CHARLIE ROSE: Henri Matisse. HENRI CARTIER-BRESSON: I have stayed quite a long time with him. CHARLIE ROSE: Who was the better painter for you -- Matisse or Picasso? For your eyes, for your heart? HENRI CARTIER-BRESSON: Early Picasso was a great painter. After-- a draftsman all his life. All. CHARLIE ROSE: The best. HENRI CARTIER-BRESSON: And sculptor, Picasso. But at the beginning only was a great painter. After-- CHARLIE ROSE: Matisse? HENRI CARTIER-BRESSON: Matisse, the beginning and the end for me. It was very sweet in between, but not-- at the end, he was a great painter as well. But I'm not an art critic. That's my own feeling. CHARLIE ROSE: That's what I'm asking. I'm interested in-- HENRI CARTIER-BRESSON: My nourishment comes from them. CHARLIE ROSE: Your nourishment for you as a human being? HENRI CARTIER-BRESSON: Yes. CHARLIE ROSE: Comes from? HENRI CARTIER-BRESSON: Looking at Matisse, looking at Bernard. CHARLIE ROSE: But how does it affect your work? HENRI CARTIER-BRESSON: Well, it goes through all the system, not the brains. CHARLIE ROSE: I know. HENRI CARTIER-BRESSON: Thinking is very dangerous. CHARLIE ROSE: It makes you more alive. And therefore the more alive you are, the better you can receive those images that you photograph? Yes? HENRI CARTIER-BRESSON: I have a friend called Eric Garr [sp], who is a wonderful draftsman. He made an [unintelligible]. I had no idea, but it's extremely rigorous. CHARLIE ROSE: Yeah. Rigorous. HENRI CARTIER-BRESSON: Yes. For a mathematician. That's why you can't crop. It has to be complete and you see it at the same time. Cropping is-- I never crop. CHARLIE ROSE: The more you look at this painting, the more interesting it is, this picture. HENRI CARTIER-BRESSON: That's not a very good picture. CHARLIE ROSE: Because? HENRI CARTIER-BRESSON: There is-- it's him, the composition. CHARLIE ROSE: What happened? HENRI CARTIER-BRESSON: He is-- I don't remember. He is-- He's in admiration of a Buddha. CHARLIE ROSE: You've been to Tibet. HENRI CARTIER-BRESSON: No. I don't think so. I've been to Kashmir. CHARLIE ROSE: This looks like Pope Pius XII. Is it? HENRI CARTIER-BRESSON: Yes. We were shouting ``Vive Jeaux, vive jeaux, vive jeaux.'' [sp] I had my camera and I raced. I couldn't move. People were so excited. CHARLIE ROSE: This was Paris, 1938. You always use a 50mm camera, not a lot of lens. HENRI CARTIER-BRESSON: Fifty-- yes. CHARLIE ROSE: Ghandi, we talked about that. Interesting face. HENRI CARTIER-BRESSON: Death, death, death. When he looked at the object. That's a [unintelligible]. CHARLIE ROSE: How did you shoot that? HENRI CARTIER-BRESSON: On a pole. CHARLIE ROSE: On a pole. HENRI CARTIER-BRESSON: And, excuse me, I think it's a friend of mine from AP who took a picture for me. There wasn't room for two. I gave him a camera and he shot it. CHARLIE ROSE: So this is not you at all. This is your camera, but not-- HENRI CARTIER-BRESSON: Uh-huh. CHARLIE ROSE: Has that happened often or only once? HENRI CARTIER-BRESSON: I remember that time. CHARLIE ROSE: Tell me about this, Tokyo. HENRI CARTIER-BRESSON: That's a funeral in Japanese. It's the death of a Kabuki actor. Same thing. You mustn't know. You must be ready, aware and-- CHARLIE ROSE: Jacques Cometi. HENRI CARTIER-BRESSON: It's at an opening at his exhibition at Marne. And you know that fruit -- the fruit which has been squashed, as if hammered. The girl couldn't drive well and drove over his food. He's a genius. CHARLIE ROSE: A genius. Who else is in that category for you? HENRI CARTIER-BRESSON: Matisse. CHARLIE ROSE: Matisse. HENRI CARTIER-BRESSON: Not Picasso. As a draftsman, yes. Always that. And a sculptor. But a painter, I don't know. CHARLIE ROSE: Did you know Camus well? HENRI CARTIER-BRESSON: No. I respect him very much. CHARLIE ROSE: Ah, ``Bullfighter.'' HENRI CARTIER-BRESSON: I was living in front of a whore house. CHARLIE ROSE: You were? HENRI CARTIER-BRESSON: Yes, so I knew them. She was a Madam -- a man and it was a homosexual who was making his living. CHARLIE ROSE: Campos is the photographer you admire the most? HENRI CARTIER-BRESSON: As a photographer and adventurer, yes. He was a close friend, photographer. He wasn't very lonesome man. He was an adventurer. CHARLIE ROSE: Did you share the same love of adventure? HENRI CARTIER-BRESSON: Share, Campos and I? CHARLIE ROSE: Yes. HENRI CARTIER-BRESSON: Yes. Except that I did film documentary of the Spanish war. CHARLIE ROSE: The Return? HENRI CARTIER-BRESSON: Yes. And I should have remained a photographer and not making films. It takes such a lot of time to make a film, to edit it. And when we finished it, the Spanish war was over. CHARLIE ROSE: I wonder when I look at this and everything you've done, what kind of filmmaker would you have been? Maybe you would have taken-- HENRI CARTIER-BRESSON: A lousy filmmaker. CHARLIE ROSE: Why? HENRI CARTIER-BRESSON: I don't like directing people. Do this. Do that. If you're an anarchist, you don't say ``Do this. Do that.'' CHARLIE ROSE: This? Nice composition. Well, maybe-- HENRI CARTIER-BRESSON: No. I won't give you scissors. Good shoot yourself. CHARLIE ROSE: Oh, this is wonderful. Remember? HENRI CARTIER-BRESSON: Yes, very well. CHARLIE ROSE: What do you remember? HENRI CARTIER-BRESSON: That it was no-- no man's land. The [unintelligible] was outside, you come this way there -- and nobody in between except this eunuch. And the communists drove in a few hours later. CHARLIE ROSE: That's great. Just wonderful. HENRI CARTIER-BRESSON: I'm alive on account of [unintelligible]. CHARLIE ROSE: How? HENRI CARTIER-BRESSON: Because I'd been obeyed to Life magazine, who wanted me to go on the Amitiste [sp] because I knew the Amitiste had been in Hong Kong. There was an episode with the Chaviso [sp]. And Life magazine said, well, since you know them, you're going to be on the Amitiste and you're going to shoot the communists landing on the other side. And [unintelligible] said I don't advise you, and the Amitiste was sunk. CHARLIE ROSE: It sunk? HENRI CARTIER-BRESSON: Sunk. CHARLIE ROSE: So you wouldn't be alive. HENRI CARTIER-BRESSON: I wouldn't be here. And it's strange because my fortune was told until my death and that was included. CHARLIE ROSE: Oh, that was included? HENRI CARTIER-BRESSON: Yes. CHARLIE ROSE: In the fortune? HENRI CARTIER-BRESSON: Yes. CHARLIE ROSE: That you would die? HENRI CARTIER-BRESSON: That I might. CHARLIE ROSE: That you would escape death? HENRI CARTIER-BRESSON: But it's all a question of present, past and future. CHARLIE ROSE: But you don't believe in that, do you -- this prophecy? You don't believe in God. HENRI CARTIER-BRESSON: For me, anarchism is an ethic. Ethic is important. CHARLIE ROSE: Jeane -- what can we say? HENRI CARTIER-BRESSON: We can't say it out loud. CHARLIE ROSE: Oh, we can. HENRI CARTIER-BRESSON: We were at Batiste [sp], it must have been. I think. MARTINE FRANCK: Le Fleur. CHARLIE ROSE: Le Fleur. HENRI CARTIER-BRESSON: No, no, no, no. Looking over delicacies of a grocery, wonderful grocery. MARTINE FRANCK: Pour Jeane. CHARLIE ROSE: Pour Jeane? HENRI CARTIER-BRESSON: Pour Jeane. Excuse me? May I say it out loud? MARTINE FRANCK: Yes. CHARLIE ROSE: Yes. HENRI CARTIER-BRESSON: Tons of shit, I remember it well. Excuse me. It was wonderful. Wonderful. CHARLIE ROSE: We talked about surrealism. Here is Andre Gretton . HENRI CARTIER-BRESSON: Pope. CHARLIE ROSE: Pope. The Pope of Surrealism. Look at the shadows. HENRI CARTIER-BRESSON: They're beautiful sculptures. CHARLIE ROSE: Ah. HENRI CARTIER-BRESSON: That's her maid, Jeanette [unintelligible]. CHARLIE ROSE: Did you know her well? HENRI CARTIER-BRESSON: No. No. CHARLIE ROSE: Do you like photographing artists? HENRI CARTIER-BRESSON: I don't think-- I don't think I'm a photographer. I've got a camera and we're drinking and eating and I just have a camera. And sometimes I use it. A conversation about women. His mother was a prostitute. CHARLIE ROSE: Lucian Freud. HENRI CARTIER-BRESSON: Yes. No comment. Not an architect. CHARLIE ROSE: No, I know. HENRI CARTIER-BRESSON: I like his drawings very much. CHARLIE ROSE: Grotesque? HENRI CARTIER-BRESSON: Not sensuous. Not-- CHARLIE ROSE: Most people don't know -- I guess you're family with the famous Cartier-Bresson textile family. HENRI CARTIER-BRESSON: Oh, yes. In the 19th century it was very good business and it fell down. CHARLIE ROSE: Were you strongly influenced by your father? HENRI CARTIER-BRESSON: He loved painting and hunting. CHARLIE ROSE: Did you like hunting? HENRI CARTIER-BRESSON: I made a living hunting in Africa. I made lots of money. And I bought-- when I came back to Europe, I bought -- what's it called? English money? CHARLIE ROSE: Pounds? HENRI CARTIER-BRESSON: Pounds, yes. And the pound dropped. I lost every penny. CHARLIE ROSE: Ah, Samuel Beckett. These photographs, how do they come into being? Do they asked to be photographed? Do you ask them? Do you do it for a book? Do you do it for an exhibition? HENRI CARTIER-BRESSON: No. CHARLIE ROSE: Why do you do it? HENRI CARTIER-BRESSON: I don't know. I shoot, that's all. CHARLIE ROSE: You shoot because it's what you do? HENRI CARTIER-BRESSON: Because it's quicker than drawing. And you don't ask permission or anything. What's drawing? Sitting. It takes time. You have to think. Now I do nudes. CHARLIE ROSE: Drawing? HENRI CARTIER-BRESSON: Yes. Hands and feet are difficult. Curves, it works. It's true. CHARLIE ROSE: I'm sure. I think everything you say is true. HENRI CARTIER-BRESSON: For me it's perfection of shape and everything. CHARLIE ROSE: Water? HENRI CARTIER-BRESSON: I think maybe I love taking photographs. Everything. Everything. CHARLIE ROSE: That's amazing. It said to you -- what? I don't have to draw. I can take pictures. HENRI CARTIER-BRESSON: Yes. Perfection. As you know. CHARLIE ROSE: That's right. HENRI CARTIER-BRESSON: As you know. CHARLIE ROSE: And here? HENRI CARTIER-BRESSON: We went down and drink all together. No, I heard noise. I opened the door, I saw that and-- CHARLIE ROSE: Were they making love? HENRI CARTIER-BRESSON: I didn't ask them. But it was beautiful, the sensuality. I was living in Carier Quada [sp]. CHARLIE ROSE: Caskets? HENRI CARTIER-BRESSON: They were making-- And I heard all the time doing the little coffins. CHARLIE ROSE: What happens? You're walking in Mexico, in the streets of Mexico. You have your camera in your pocket-- HENRI CARTIER-BRESSON: Not in my pocket. CHARLIE ROSE: Not in your pocket, on your wrist. OK. You have the camera on your wrist. Something happens. You decide to-- a few minutes ago you look at the face of someone. It says something to you. HENRI CARTIER-BRESSON: Just now-- but a minute ago, up I would have shot. It's geometry and everything in the right place. CHARLIE ROSE: Picasso could draw -- we give him that. What do you have? What is it? HENRI CARTIER-BRESSON: Well, I'm visual. Other people have an ear, it's music. That's all. CHARLIE ROSE: Are you as good today as you have ever been? HENRI CARTIER-BRESSON: Who cares? Who cares? CHARLIE ROSE: Do you care? You are so much in the moment. You think about today and tomorrow. Part of you doesn't look back much. HENRI CARTIER-BRESSON: Everything is a fraction of a second, to be present and susceptive and receptive. CHARLIE ROSE: Of all the places you have been, is there one that holds a special place in your heart, other than Paris and France? HENRI CARTIER-BRESSON: Far East. The Far East. And I am grateful to America because if I'm known as a photographer, it's on account of Lincoln Kirstein, Monroe Wheeler. CHARLIE ROSE: This has been a wonderful time. HENRI CARTIER-BRESSON: I enjoyed it. CHARLIE ROSE: Thank you. HENRI CARTIER-BRESSON: Thank you. CHARLIE ROSE: May you live a long and happy life. HENRI CARTIER-BRESSON: Until when? CHARLIE ROSE: Until whenever. We are with HENRI CARTIER-BRESSON in Paris at a new exhibition. A remarkable experience to be here. HENRI CARTIER-BRESSON: Don't exaggerate. CHARLIE ROSE: Thank you for joining us. HENRI CARTIER-BRESSON: We enjoyed talking together. CHARLIE ROSE: Yes, we did. Very much. HENRI CARTIER-BRESSON: Thank you. CHARLIE ROSE: Thank you very much. See you next time. HENRI CARTIER-BRESSON: [being handed drink] Oh, merci. CHARLIE ROSE: Ah. HENRI CARTIER-BRESSON: Salud. CHARLIE ROSE: Salud. HENRI CARTIER-BRESSON: Where's yours? CHARLIE ROSE: I don't know. I wish it was here. Coming. HENRI CARTIER-BRESSON: Cheers. CHARLIE ROSE: Cheers. Better. I mention-- More. More. HENRI CARTIER-BRESSON: It's looser. CHARLIE ROSE: It's looser and better. Yes. ANNOUNCER: Over 70 million people are getting an education on the Internet this year. Are you ready? Virtually all Internet traffic travels across the systems of one company, Cisco Systems, empowering the Internet generation. [On screen, ``www.cisco.com''] DLJ Direct is proud to underwrite CHARLIE ROSE. DLJ Direct -- the thinking of a Wall Street investment bank combined with the speed of the Internet. [On screen, ``www.dljdirect.com''] Donaldson, Lufkin & Jenrette -- putting our reputation on line. CHARLIE ROSE is also made possible by The Robert Wood Johnson, Jr., Charitable Trust, Rosalind P. 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  8. The Seven Levels of Photographers Artist: Top Level 7 (equivalent to "Heaven" in Christian mythology) This is the highest level. An artist fixes his imagination in a tangible form called a photograph. He captures the spirit of place or person, real or imagined, in this photograph and the viewer responds to this. An artist is a complete master of his tools. When creating art an artist transcends common existence as his spirit flies up to meet that which he is capturing. He may practice and learn his tools while he is not creating, however when creating the camera becomes an extension of his mind. No conscious thought is expended on the technical issues with which he is a virtuoso while creating photographs. To make a musical analogy, a musician may woodshed his scales, but when he's jamming he's not even thinking about fingerings. He's lost in the passion of the moment. Just like professional surfers who have a dozen boards or pro guitarists who have 23 axes, an artist may have a slew of cameras, each for a different purpose. Likewise, other artists may only have one camera, or none at all. It just doesn't matter. Artists sometimes dress funny and tend to stay up late. They usually prefer to photograph attractive young women and are proud of it. No one ever sees their work since they have crummy ability to promote themselves, and sadly, usually don't even appreciate their own excellent work. Those that do drop down to Whore, which sadly and paradoxically means you will never see the work of a true artist unless you know one personally. Good artists are usually too embarrassed to show their work to anyone unless you are intimate with them, since their work is their soul. Artists use any sort of camera, including pinholes and disposables, or 8 x 10s. They use whatever instrument they need to create what they want. Whore: Level 6 A whore is an artist who sells his soul by accepting money or drugs for his art. By lowering himself to this level his vision is compromised. Why? Because when one depends on selling one's soul to pay for one's food and pad one does not screw with the program, which means that one does not try new styles. If a whore's work pays his bills after years of trying, it's unlikely any whore will be open to trying new styles while he still needs the dough. Artists with representation (meaning they are represented by a gallery or an artists' representatives just as pimps do in the sex trade) may lose that representation if they change their style. Therefore, art for sale from one person rarely gets better or different. The style that sells is all a whore's johns and pimps (representatives) want to see. See Barnbaum's book on artistry. It is extraordinarily difficult for a successful whore to change styles once one has been accepted. More about the whore class at level 10 here. Amateur: Level 5 People who earn less than half of their income from photography are amateurs. This has nothing to do with the quality of their photography. This person loves to create photographs. Good amateurs of pure spirit can transcend the other levels directly to being an artist. People who shoot weddings and etc. on weekends as a side line from their day jobs are still amateurs; they just charge for their photos. And as you read here they may also charge a lot for their snaps. Amateurs who think that better cameras will improve their photos are at risk of descending to the lowest level of equipment measurbator. Too many amateurs have been misled by camera makers into thinking that they need good cameras for good images. This thought is poison to creating art. Amateurs who lose themselves in creating great images are set for a path of enlightenment. Being an amateur is a good thing; from this level one can rise to the level of artist rather easily. Amateurs almost always shoot Canon SLRs. Snapshooter: Level 4 This is my mom and most people. These people want memories, as opposed to photographs or cameras. Snapshooters who are graphic artists or otherwise visually literate people often make fantastic images that impress everyone. These snapshooters are artists and don't even realize it. They usually dress better than the artists who think they really are artists. Believe it: it's the photographer who makes an image, not a camera. Snapshooters use point-and-shoot and disposable cameras, which give the same excellent results as the Leicas, Nikons, Canons and Contaxes used by everyone else. Professional: Level 3 A professional photographer is a person who earns his entire living (100%) from the sale of photographs. Professionals do not create art for a living; they create images for commerce. They usually have some familiarity with the tools and can get out decent images, however they may or may not be able to capture imagination. Of course professionals may create great images, but that's on their own time. Professionals spend very little time worrying about cameras, except when they need to get them repaired. They spend most of their time looking for work and pissing about how all the other photographers in town are dropping their prices. Professionals spend more on film and lab fees each month than they spend on camera gear in a year. There are no professional nature photographers. They all either have day jobs or make their wives support them. Professionals shoot Nikon SLRs, Mamiya medium format and Calumet 4x5" cameras. They cannot afford gear as good as most serious amateurs. Unless you are a commercial photography buyer or know one as a friend you have not heard of professional photographers. The ones you may have seen in camera ads proclaiming that they use this or that camera are just spokesmodels. Professionals don't have websites and don't put out technical newsletters. Those people are usually amateurs. Rich Amateur: Level 2 These are amateurs who, by having too much money, buy lots of equipment which can fetter their freedom of expression. They are mostly men, and many are old or retired. Rich amateurs shoot Leicas, Contaxes, Alpas, Hasselblads and Linhof 4x5s. These are great cameras, but the results are the same as the Zenits, Pentaxes, Bronicas and Tachiharas. Today they mostly shoot Canon 1Ds-Mk IIs, 5Ds or Nikon D2X. These are the same idiots who bought the first 2.7 Megapixel digital SLRs designed for newspapers like the Nikon D1 back in 2000 just because they cost $5,000. They gave technically poorer results than the film cameras used by snapshooters. All because it's expensive doesn't make it good. Bad rich amateurs think fuzzy B/W images of poor people are art. Some rich amateurs fall into the bottom spiritual level easily because they worry too much about equipment, others go straight on to create great art since they don't have any worries about equipment since they think they own the best. Oddly, few rich amateurs produce ordinary work. It either rules or sucks. Equipment Measurbator: Bottom Level 1 (equivalent to "Hell" in Christian mythology) These men (and they are all men) have no interest in art or photography because they have no souls. Lacking souls they cannot express imagination or feeling, which is why their images, if they ever bother to make any, suck. These folks have analysis paralysis and never accomplish anything. Does poring over a microscope analyzing test images have anything to do with photographing a Joshua tree at dawn? Of course not. Even worse, time wasted concentrating on tests is time not spent learning useful aspects of photography and certainly time that could have been better spent actually photographing. Test just enough to know what your gear can do, and then get on with real photography. They are interested solely in equipment for its own sake. They will talk your ear off for hours if you let them, but as soon as you ask to see their portfolio their bravado scurries away, or they think you want to see their cameras or stocks. You can read why cameras simply don't matter here. Most seem to come from technical avocations, like engineering, computers and sciences. These people worry so much about trying to put numerical ratings on things that they are completely oblivious to the fact that cameras or test charts have nothing to do with the spirit of an image. Because they worry so much about measuring camera performance we have dubbed them "Measurbators." Unfortunately, many of them wander into KenRockwell.com looking for information on camera performance. Many of them also play with audio equipment, computers or automobiles. They enjoy these toys just like their cameras for their own sake, but rarely if ever actually use them for the intended purposes. Younger ones play video games or engage in chat rooms and web surfing. Older ones join "camera" clubs. (You should join photography clubs, but never camera clubs or any clubs that try to score art, since art is entirely subjective and cannot be scored numerically.) Likewise, these people never create anything notable with any of this other gear either, but they sure get excited by just having, getting or talking to you about it. The one type of gear these people ignore is the only type of gear that actually helps: lighting. Someone with a decent portfolio is not an equipment measurbator. Someone with more cameras than decent photos just may be. People with websites teeming with technical articles but few interesting photographs probably are. Do not under any circumstances deal with these people, talk to them, read their websites or especially ask them for photography advice. To the innocent they seem like founts of knowledge, however their sick, lifeless souls would love to drag you into their own personal Hells and have your spirit forever mired in worrying about how sharp your lens is. If you start worrying about this and you'll never photograph anything again except brick walls and test charts. These people are easy to identify. If you've read this far you've probably seen their websites. They always have lots of info about equipment, but very few real photographs. Beware of any information from any website not loaded with photography you admire. Other people have other words for these people. This article here adds some more perspective. I had to pull most of the photos of equipment off my site because these people were spending more time looking at my equipment than my art! The bandwidth for which I pay was being eaten up by these idiots looking at my lenses, instead of looking at the photos in my gallery which is the whole point of this site. That's why all the stupid pages like this one are in yellow, so that their eyes hurt too much to waste too much time on the nuts and bolts. Most people who waste my time e-mailing me with technical and equipment questions through this site unfortunately belong to this unenlightened bottom group. Almost anyone who actually worries about the level they occupy belong to the bottom. Many of these folks stalk the Internet, and spend hours getting off "contributing" to technical websites and photography chat rooms like Photo.net, www.dpreview.com and photocritique.net instead of making photos. The guys here aren't too bad, and most of the Leica people here are just equipment collectors. http://www.kenrockwell.com/tech/7.htm
  9. Mozda ti bude zanimljivo i ovo Paul Rand A skoro naleteh na citat, kako je u brk odgovorio Džobsu kada mu je ovaj tražio da dizajnira logo za Next. “I asked him if he would come up with a few options, and he said, ‘No, I will solve your problem for you and you will pay me. You don’t have to use the solution. If you want options go talk to other people.’”
  10. Da, sada je ovo na Tasu... Za nas koji smo zivot i mladost proveli na Tashu ovo je blago receno uvreda a i pokazuje kako lako neko za pare moze da proda svoje dupe i obraz i napravi ovaj kiceraj sa bistom nekog tamo debila iz debilne zemlje i sa sve zastavom te zemlje... pitanje je dali bi uradili isto da im je Albanija dala milion dolara za obnovu Tasha ... mislim da je odgovor DA. Nema vise gazenja po travi !!>>?? Kamere na svakom cosku , fontana no comment, igralista za decu na ogradjenom prostoru sto podseca na pusionice na aerodromu gde je taj vid aktivnosti (igranje dece) dozvoljen... Covek prosto treba da se zapita gde ce ta deca da igraju klikere, basket fudbal...gde ce da se penje po drvecu i da se rade ostale gluposti koje smo mi kao klinci radili... A o izvedbi i arhitektonskom resenju fontane u parku gde se igraju deca treba posebno pricati... ostre mermerne ivice i coskovi na sve strane idealni su za igranje dece kao i posle za usivanje lobanje u urgentnom... A sto se zabrane setanja i aktivnosti po livadama tice evo primera zdravog drustva,za razliku od naseg : Please walk on the grass We also invite you to smell the roses, hug the trees talk to the birds ,sit on the benches and picnic on the lawns. Ali to ne umanjuje umjetnicku vrijednost fotke clana nam F16 i njegovog mocnog aparata :P
  11. Razor is seeking talented, experienced Web Developers to join its growing talent team. If you know PHP, MySQL/Postgres, are familiar with jQuery and RPC and like to work on challenging projects that impact millions of people, we want to talk to you. As part of the Backend Development team, you will be focused on developing next generation backend solutions. You would not deal with frontend related tasks (slicing, generating initial HTML/CSS code, etc.). You'd be a key contributor and have a voice in determining the future direction of our development efforts. Requirements: * PHP - 2-3+ years programming experience * PHP Frameworks * Javascript Frameworks * Solid understanding of HTML and CSS * Understanding of OOP principles in PHP5 * Using version control software * Knowledge of mod_rewrite in Apache * Knowledge of http fundamentals (request, response headers) * Must be detail oriented. * Must be detail oriented. * Excellent problem solving, critical thinking, and communication skills. * Accuracy and timeliness in execution of assigned tasks. Optional: * Other languages/technologies for web development (Ruby on Rails, Python, etc.) Please send your CV in English at office@razor.rs, not later than October 3rd 2011. Looking forward working with you! Razor team
  12. Razor is seeking talented, experienced Frontend Developers to join its growing talent team. If you know what HTML5, CSS3 and jQuery are and like to work on challenging projects that impact millions of people, we want to talk to you. As part of the Frontend Development team, you will be focused primarily on developing next generation user experience solutions. You'd be a key contributor and have a voice in determining the future direction of our front-end development efforts. Requirements: • Strong experience in user interface design is required • Expert web developer + Photoshop skills: - html 4 + 5 - xhtml - css2 + 3 - JavaScript (without using libraries) - jQuery or similar - Photoshop CS4+ (Cutting PSD's) - Able to animate elements with CSS + JavaScript - Ability to learn quickly + work in fast pace environment. - Forward thinking - will have already experimented with html5. - Aware of cross-browser issues and workarounds. - Eye for detail and design. • Must be detail oriented. • Excellent problem solving, critical thinking, and communication skills. • Accuracy and timeliness in execution of assigned tasks. Please send your CV in English at office@razor.rs, not later than September 26th 2011. Looking forward working with you! Razor team
  13. Npr.: http://www.vimeo.com/26887453 0:19 http://www.vimeo.com/26888544 0:12 http://www.vimeo.com/26888332 0:20 Prvi put sam to video na TV-u, obično u talk-show emisijama. (izvini ako davim)
  14. fino sjedim, rastezem misa, radi se....sve 5. zvoni telefon, na caller ID vidim samo pise 'Miami Dade County' ja: (ime mi firme) how can i help you? s druge strane: Hi, i'd like to talk to someone in your legal department. ja: i'm sorry you must have the wrong number (jer nas je 1-800 broj jako slican broju jedne druge firme koja prodaje neke pizdarije, pa nas zovu cesto greskom) s druge strane: This is xxxxxxxxxxxxx, right? ja: yeap s druge strane: i have the right number. ja:ok,...how can i help you? s druge strane: my name is xxxxxx xxxxxx with the Miami FBI office, and i wanted to talk to someone from your legal deparment for a second. ja: (srce u petama, isro ciglu instant, reko Harv,...koji kuxac sad, pa sve je ok, radimo cisto ko suza, koji legal department, ono imamo lawyera, ali cisto da nam pregleda jel su svi ugovori ok, nije da nas je 500 pa da imamo legal department) OK,....?!?!?!?!?! We don't really have a legal department, but maybe i can help you, and then connect you with our attorney. s druge strane: ok,...it's in regards to one of the sites you have built, we need some information ja:(do sad isro jedno 3 kubika cigli, a ni sam ne znam zasto) ok,...which site would that be? s druge strane: (da mi ime klijenta i link) we will most likely subpoena you guys to get the username and password to the investor relations backend so we can review the documents the xxxx (ime klijenta - firme) is posting ja:(presto sa ciglama, lakse mi),....ok,...but even if we give you the username and password to the backend, it can change from one minute to the other,..they can take down documents in a few seconds.... uglavnom,..razgovor je sad tekao josh jedno 10 minuta,...i izgleda da je nasa musterija debelo shebala situaciju (jer ako te FBI istazuje, onda ne moze biti nesto sitno) Zvao sam nazad da provjerim broj,..i stvarno FBI,....nista nema veze s nama, mi smo samo radili sajt,rekli mi da ne gubim zivce, da je i njima ovo prvi put da ce slat subpoenu web dizajn firmi..ali po svemu sudeci, zavrsit ce neko iz one firme u zatvoru. Uglavnom,....u ugovoru uvijek imajte da je client responsible za sav content na sajtu, i apsolutno se disasocirajte od klijentovog posla. Tek tolko,..za svaki slucaj. A sad idem popit pivu i odmorit zivce.
  15. Ja sam imao najbolju nameru da nabavim FARO spravicu,jer sam je video na delu kod nekih likova is Dassault-a.Dosli ljudi i snimili prostor za popodne,mi se mucili ko bednici rucnim laserskim metrima,ko Bizantini...uzas.Cak mi lik rekao da je cifra nekih 17.000,medjutim kontaktiram lika u Moskvi i samo sto me srcka nije zviznula... http://www.faro.com/focus/uk/videos Evo prepisa maila... Respected SIr, So, as I wrote yesterday there are two models of FARO Focus 3D with a range 20 or 120 m. If we talk about DDP Moscow terms and conditions of delivery the price of set is the following: FARO Focus 3D/20 – 53700 USD, FARO Focus 3D/120 – 67300 USD. A set of FARO Focus 3D includes the following: FARO Focus 3D, FARO SCENE software, Carbon Fibre Tripod, Starter kit (registration spheres, magnetic mounts, gloves), Notebook, Training and putting into operation on a customer side. Time of delivery after PO is 10-12 weeks. Best regards, Sergey
  16. ako vam se ne svidja nas prevod evo originala... *********************** If you can keep your head when all about you Are losing theirs and blaming it on you, If you can trust yourself when all men doubt you But make allowance for their doubting too, If you can wait and not be tired by waiting, Or being lied about, don't deal in lies, Or being hated, don't give way to hating, And yet don't look too good, nor talk too wise: If you can dream--and not make dreams your master, If you can think--and not make thoughts your aim; If you can meet with Triumph and Disaster And treat those two impostors just the same; If you can bear to hear the truth you've spoken Twisted by knaves to make a trap for fools, Or watch the things you gave your life to, broken, And stoop and build 'em up with worn-out tools: If you can make one heap of all your winnings And risk it all on one turn of pitch-and-toss, And lose, and start again at your beginnings And never breath a word about your loss; If you can force your heart and nerve and sinew To serve your turn long after they are gone, And so hold on when there is nothing in you Except the Will which says to them: "Hold on!" If you can talk with crowds and keep your virtue, Or walk with kings--nor lose the common touch, If neither foes nor loving friends can hurt you; If all men count with you, but none too much, If you can fill the unforgiving minute With sixty seconds' worth of distance run, Yours is the Earth and everything that's in it, And--which is more--you'll be a Man, my son!
  17. Pozdrav, firma insomnia se bavi savetovalistem i drugim poduzetnistvom. Cilj mi je bio da predstavim dva talk oblaka , koja predstavljaju savete, komunikaciju medju ljudima. Bojama (plava i ljubicasta) pokazujem da se radi o budnom oko danju i nocu - insomnia. E, sad treba mi pomoc, vidim da nesto ne valja, ali sta? Ako ste raspolozeni, samo napred, pomoc je uvek potrebna. Inace ciljna grupa su kreativni dizajneri, zato mi treba vase misljenje :) http://img84.imageshack.us/i/58217491.jpg/ http://img402.imageshack.us/i/37260638.jpg/ http://img43.imageshack.us/i/90557753.jpg/
  18. Besplatni Web Radio Plejer 1.0 sadrzi blizu 10000 svetskih i domaćih radio kanala. Kanali su grupisani po zemljama, a sortirani su i u osam posebnih odeljaka: Talk, Sport, Classic, Romantic, Pop & Rock, Jazz, Country, Techno. Update novih radio kanala vrši se svakodnevno. Korisniku je omogućeno da sam sačini listu svojih omiljenih radio stanica kao i snimanje audio zapisa koji se potom konvertuju u MP3 format. Program radi pod Windows okruženjem sa Windows Media Player-om 9 ili novijim. Link do programa: Web Radio Easy 1.0 Spisak kanala možete pronaći na http://www.wreasy.com/
  19. HI dejan, I have tried phoning you and inviting you to google chat, but I didn't get a reply yet. So I'll post here. My name is Jeffrey Martin, I'm the founder of 360cities. I live in Prague. I have five colleagues. I work 60-80 hours a week as most of my colleagues do. Maybe I'd make more money if I was a plumber ;-) but I prefer doing this. What you are doing is cool, I'll take it as a compliment. But you have to understand, at the same time, it is COMPLETELY SCREWING not only us (who work our asses off with the hope of making a real business out of this) but also the hundreds of photographers who are not only great at making panoramas, but are cool enough to take the time and use our platform to publish their work. With a tool like you have built, you give them a reason not to trust us anymore - which can destroy our website and our years of work. Please, can you take this website offline? You have proven that you can make something cool. Unfortunatly it comes at a serious expense to people, and is hurting us in a very real way. Maybe that wasn't your intention, but now you know. 360Cities is not my hobby - it's how I feed my children, literally. Same for my colleagues. By the way, your design website looks interesting. We are always on the lookout for good designers, so maybe we should talk about that also, once this issue is resolved. You can find my chat invitation in your gmail. Thanks, and greetings from Prague, Jeffrey Martin
  20. 1. najbolji odabir fonta, i "buljavo" oko, jedno mi oblacic vise deluje kao marker nego kao talk cloud. mozda to da malo sredis.
  21. Errr.. zato sto nisi procitao ostatak teksta u ovom tredu pre nego sto si napravio promaju u mladom telu :D Senzorfilm bi trebalo da radi posao, samo je zajebato naneti ga u pravilnoj kolicini, ne preci ivice filma jer se onda tesko odlepljuje i na kraju zalepiti rucicu za odlepljivanje. Pipavo, ali izvodljivo. Ako nabavis film, evo ja se uvezbam na mom i onda ocistim tvoj za dz. Iskreno - nisam nikad cistio FF, ali cistio sam moj 450D vise puta, uvek prirucnim sredstvima i sve radi k'o Doxa. nije senzor nesto sto je napravljeno od par atoma sline koji se raspu kad ih pogledas, nit ce da ti eksplodira u facu, samo treba imati strpljenja, mirnu ruku i elementarno poznavanje hemije (ne da sam ja sad nesto mnogo pametan, no se smucam u takvim krugovima). A za pumpicu, ljudi su ovde vise puta naglasavali da pumpicu OBAVEZNO probati pre upotrebe da slucajno nije ostao talk koji se koristi kao prezervativ za gumu, samo sto zaborave da kazu i napisu to na uputstvu. A mozda i napisu ali nema koj da cita u mom slucaju :) Zato koristiti silikonske koje su malo skuplje ali nemaju problema sa depolimerizacijom (raspadanjem prim. prev.) gume, a samim tim i lansiranjem raznog djubreta pravo u nase preskrasne senzore....
  22. Evo mali updejt: IZGLED : SKICA MAPE ( u izradi ) : Vecina stvari koje sam zeleo da odradim sam odradio, sada crtkam menije, dodajem levele, nove likove i tako ... E da i napravio sam logo (hope you like it ) :D Talk to you later, Mercury
  23. Razlicite materijale povrsini zida dodajes tako sto ti je zid Custom profile. Kad definises Custom postavis nodove na mestima prelaza iz materijala u materijal, i dodelis delovima izmedju nodova odgovarajuci materijal. Posebna grafika ili slika se isto dodeljuju materijalu. Ako hoces da kombinujes, u Artlantisu je to izuzetno lako - samo dovuces teksturu na taj zid i to je to. U ArchiCADu moze, ali ume da bude komplikovano. Onda je bolje postaviti Picture objekat (ili Parapicture, ima ga na ArchiCAD Talk Depository) i dodeliti mu teksturu tj sliku koju zelis. Pazi da ti proporcija velicina objekta bude ista kao proporcija teksture. Ako zelis da to radis dodatnim tankim zidovima, pazi da budu na posebnom lejeru koji ima drugaciju intersection vrednost od lejera na kome je osnovni zid.
  24. Po meni najbolje (nemam pojma flash) ako mozes da proslijediš GET parametar recimo "check"... /script.php?check=Sh3dve1 Onda udri na vrh skripte... $check = preg_replace("/[^a-zA-Z0-9]/","",$_GET["check"]); //uzmi get if($check != "Sh3dve1"){ //provjeri get header("Location: /"); //preusmjeri na početnu stranicu i ne izbacuj ništa, don't talk to strangers :P } Upload (jedan file) sa checkom... PS Welcome to the dark side :P
  25. @lunatico you would definitely NEED to talk :)
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