... those who have eyes to see." "people think far too much about techniques and not enough about seeing." pierre gassman, head of the laboratory that finished cartier-bresson's work, said that there are two kinds of photographers: those who work for the best possible negative, and those who work for the best possible picture. cartier - bresson is definitely in the second category. from the decisive moment, by henri cartier - bresson. simon and schuster, new york, 1952. media and interpretation. a funny business, which ultimately must be left to its own devices. one instance that deeply affected me was the time i was referred to as a "naif" by the poet, gallery owner and critic constandinos christianopoulos. at the time there was no way i could have seen myself as such, but i respected the expression of what he perceived. on a subsequent television show i was queried about this, and replied that, no, i did not consider myself a "naif" in the strict sense of the word, though i did think that every artist must be a "naif" of the spirit. i recall reading meyer shapiro on cezanne, "with a remarkable simplicity that often passes for naivete but is the wisdom of all great art, he presents his vision…in the clearest way." also: an early catalogue of my work includes two poems. these two, along ...