The French photographer Henri Cartier-Bresson was another giant of the field who, although not an official member of the Surrealism movement, socialized with the Surrealists and fruitfully applied their ideas in his own work.
This can be seen clearly in his important and influential theory of ‘the decisive moment’, which further develops Andre Breton’s doctrine of ‘objective chance’. Cartier-Bresson argued that, “There is nothing in this world that does not have a decisive moment”, and for the photographer to be truly creative they have to recognise that moment; because once you miss it, the moment is gone forever.
A striking example of the decisive moment can be found in his 1934 photograph, The Spider of Love, Mexico City. While attending a party in that city, he felt a little worse for wear and went upstairs to the bathroom. Passing by a bedroom he heard a noise and upon opening the door he discovered two women making love. He later described the event as a miracle of sensuality, which could never be duplicated by posed models.