Let us first say what photography is not. A photograph is not a painting, a poem, a symphony, a dance. It is not just a pretty picture, not an exercise in contortionist techniques and sheer print quality. It is or should be a significant document, a penetrating statement, which can be described in a very simple term - selectivity.
Does not the very word 'creative' mean to build, to initiate, to give out, to act - rather than to be acted upon, to be subjective? Living photography is positive in its approach, it sings a song of life - not death.
Self-conscious artiness is fatal, but it certainly would not hurt to study composition in general. Having a basic understanding of composition would help construct a better organized image.
None. They should just go out and photograph and stop talking about it. That’s the only way they are going to find themselves. They can’t do it in their heads – they have to go out and do it in the camera and get it on film.
I took to photography like a duck to water. I never wanted to do anything else. Excitement about the subject is the voltage which pushes me over the mountain of drudgery necessary to produce the final photograph.
Photography can only represent the present. Once photographed, the subject becomes part of the past.
I am so fascinated with this century it will help keep me alive. I'll be there until the last minute, fighting.
If a medium is representational by nature of the realistic image formed by a lens, I see no reason why we should stand on our heads to distort that function. On the contrary, we should take hold of that very quality, make use of it, and explore it to the fullest.
Today we are confronted with reality on the vastest scale mankind has known [and this puts] a greater responsibility on the photographer.
Living photography builds up, does not tear down. It proclaims the dignity of man. Living photography is positive in its approach; it sings a song of life -not death.
Just living in a place is not enough. You can live in a community and not understand it. Just looking at it wont do. I almost believe we don’t see anything until we understand it. Look into the history of the area – why it started, how it developed. The more research you can do the place, the more you may realize that you don’t know it as well as you thought you did. Let the subject speak for itself. Be true to the subject. Pretty pictures are only an escape from the subject. Don’t photograph a good-looking branch just because it looks nice; the branch should mean something about the community. Photography is statement; it has to tell us things about a place.
The challenge for me has first been to see things as they are, whether a portrait, a city street, or a bouncing ball. In a word, I have tried to be objective. What I mean by objectivity is not the objectivity of a machine, but of a sensible human being with the mystery of personal selection at the heart of it. The second challenge has been to impose order onto the things seen and to supply the visual context and the intellectual framework - that to me is the art of photography.
I believe there is no more creative medium than photography to recreate the living world of our time...Photography gladly accepts the challenge because it is at home in its element: namely, realism—real life—the now.
[photography was] the medium preeminently qualified to unite art with science. Photography was born in the years which ushered in the scientific age, an offspring of both science and art.
The photograph may be presented as finely and artistically as you will; but to merit serious consideration, must be directly connected with the world we live in.
To chart a course, one must have a direction. In reality, the eye is no better than the philosophy behind it. The photographer creates, evolves a better, a more selective, more acute seeing eye by looking ever more sharply at what is going on in the world.
The more you do, the more you realize there is to do, what a vast object the metropolis is, and how the work of photographing could go on forever.
[Composition is] as closely tied up with the body of the picture as veins and muscles are articulated with the human body.
The world today has been conditioned, overwhelmingly, to visualize. The picture has almost replaced the word as a means of communication.
Photography can never grow up if it imitates some other medium. It has to walk alone; it has to be itself.
Abstraction in photography is ridiculous, and is only an imitation of painting. We stopped imitating painters a hundred years ago, so to imitate them in this day and age is laughable.
What the human eye observes casually and incuriously, the eye of the camera... notes with relentless fidelity."
A photograph is not a painting, a poem, a symphony, a dance. It is not just a pretty picture, not an exercise in contortionist techniques and sheer print quality. It is or should be a significant document, a penetrating statement, which can be described in a very simple term - selectivity. To define selection, one may say that it should be focussed on the kind of subject matter which hits you hard with its impact and excites your imagination to the extent that you are forced to take it. Pictures are wasted unless the motive power which impelled you to action is strong and stirring.
There are many teachers who could ruin you. Before you know it you could be a pale copy of this teacher or that teacher. You have to evolve on your own.
...people say they need to express their emotions I'm sick of that. Photography doesn`t teach you to express your emotions it teachs you to see.
Some people are still unaware that reality contains unparalleled beauties. The fantastic and unexpected, the ever-changing and renewing is nowhere so exemplified as in real life itself.
The photographer is the contemporary being par excellence; through his eyes the now becomes the past.
Like every other means of expression, photography, if it is to be utterly honest and direct, should be related to the life of the times - the pulse of today....The photograph...to merit serious consideration, must be directly connected with the world we live in.
A photograph is or should be significant document, a penetrating statement, which can be described in a very simple term – selectivity. To define selection, one may say that it should be focused on the kind of subject matter which hits you hard with its impact and excites your imagination to the extent that you are forced to take it. Pictures are wasted unless the motive power which impelled you to action is strong and stirring. The motives or points of view are bound to differ with each photographer, and herein lies the important difference which separates one approach from another. Selection of proper picture content comes from a fine union of trained eye and imaginative mind.
To chart a course, one must have a direction. In reality, the eye is no better than the philosophy behind it. The photographer creates, evolves a better, more selective, more acute eye by looking ever more sharply at what is going on in the world. Like every other means of expression, photography, if it is to be utterly honest and direct, should be related to the life of the times--the pulse of today. The photograph may be presented as finely and artistically as you will, but to merit serious consideration, must be directly connected with the world we live in.
What the human eye observes causally and incuriously, the eye of the camera notes with relentless fidelity.
Suppose we took a thousand negatives and made a gigantic montage: a myriad-faceted picture containing the elegances, the squalor, the curiosities, the monuments, the sad faces, the triumphant faces, the power, the irony, the strength, the decay, the past, the present, the future of a city – that would be my favorite picture.
I agree that all good photographs are documents, but I also know that all documents are certainly not good photographs. Furthermore, a good photographer does not merely document, he probes the subject, he "uncovers" it...
You scientists are the worst photographers in the world and you need the best photographers in the world and I'm the one to do it.
I wanted to combine science and photography in a sensible, unemotional way. Some people’s ideas of scientific photography is just arty design, something pretty. That was not the idea. The idea was to interpret science sensibly, with good proportion, good balance and good lighting, so we could understand it.
Like every other means of expression, photography, if it is to be utterly honest and direct, should be related to the life of the times – the pulse of today.
Actually, documentary pictures include every subject in the world – good, bad, indifferent. I have yet to see a fine photograph which is not a good document.
There needs to be a friendly interpreter between science and the layman. I believe photography can be this spokesman.
I think the important decision for a photographer is to choose a subject that intensely interests him or her.
What we need of equipment is this: let it possess as good a structure as the real-life content that surrounds us. We need more simplifications to free us for seeing.
Unless they do their share of growing up to their responsibilities the photographer can languish or take up knitting.
The photographer’s act is to see the outside world precisely, with intelligence as well as sensuous insight. This act of seeing sharpens the eye to an unprecedented acuteness. He often sees swiftly an entire scene that most people would pass unnoticed. His vision is objective, primarily. His focus is on the world, the scene, the subject, the detail. As he scans his subject he sees as the lens sees, which differs from human vision. Simultaneously he sees the end result, which is to say he sees photographically.