Being disabled gave me an immense advantage. People are kinder to you. It puts you on a different level than if you go into a situation whole and secure.
DOROTHEA LANGEPhotographers stop photographing a subject too soon before they have exhausted the possibilities.
More Dorothea Lange Quotes
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This benefit of seeing…can come only if you pause a while, extricate yourself from the maddening mob of quick impressions ceaselessly battering our lives, and look thoughtfully at a quiet image…the viewer must be willing to pause, to look again, to meditate.
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You know there are moments such as these when time stands still and all you do is hold your breath and hope it will wait for you.
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Life, for people, begins to crumble on the edges; they don’t realize it.
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… it came to me that what I had to do was to take pictures and concentrate upon people, only people, all kinds of people, people who paid me and people who didn’t.
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The visual life is an enormous undertaking, practically unattainable.
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go in over your head, not just up to your neck.
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While there is perhaps a province in which the photograph can tell us nothing more than what we see with our own eyes, there is another in which it proves to us how little our eyes permit us to see.
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Photography is a lot like telling a large predatory cat what to do-while an audience of people you can’t see watches you.
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I trust my instincts. I don’t distrust them. They haven’t led me astray. It’s when I’ve made up my mind to be efficient that is when I have gone wrong.
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The people who are garrulous and wear their heart on their sleeve and tell you everything, that’s one kind of person, but the fellow who’s hiding behind a tree and hoping you don’t see him is the fellow that you’d better find out why.
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I realize more and more what it takes to be a really good photographer. You go in over your head, not just up to your neck.
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Pick a theme and work it to exhaustion… the subject must be something you truly love or truly hate.
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Photography today appears to be in a state of flight… The familiar is made strange, the unfamiliar grotesque. The amateur forces his Sundays into a series of unnatural poses.
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We know by now how to photograph poor people. What we don’t know is how to photograph affluence – whose other face is poverty.
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The camera is an instrument that teaches people how to see without a camera.
DOROTHEA LANGE