Camera Bodies
Leica Rangefinder Cameras: Cartier-Bresson almost exclusively used Leica 35mm rangefinder cameras throughout his career. He began with the Leica II and Leica III models, both equipped with collapsible 50mm Elmar lenses. After World War II, he transitioned to the Leica M3, which became his main camera for much of his later work.
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| Henri Cartier-Bresson's first Leica |
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| Leica M3 |
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| Henri Cartier-Bresson's Leica camera |
Other Formats: On rare occasions, he also used medium format cameras such as the Rolleiflex and Hasselblad, but these were exceptions rather than the rule.
Lenses
50mm Lens: His signature lens was the 50mm, most often the collapsible Leica 50mm Summicron or Elmar. He occasionally used a Zeiss Sonnar 50mm as well. The 50mm lens was chosen for its natural perspective, closely matching the human eye, and for its versatility in street and documentary photography.
Occasional Alternatives: While the 50mm was his overwhelming preference, he sometimes used a wide-angle lens for landscapes and, more rarely, a 90mm lens for specific purposes.
Accessories and Modifications
Discreet Modifications: Cartier-Bresson often wrapped black tape around the shiny parts of his Leica to make it less conspicuous and avoid drawing attention while shooting.
No Flash: He famously refused to use flash, relying solely on available light.
Film
Black and White Film: Cartier-Bresson shot almost exclusively in black and white, favoring films such as Kodak Tri-X and Ilford HP5 for their reliability and tonal range.
Philosophy and Technique
No Cropping: He was a purist, insisting on composing perfectly in the viewfinder and refusing to crop his images during printing.
Simplicity: For Cartier-Bresson, the camera was merely a tool; he believed the photographer’s vision and timing were paramount.