No amount of toying with shades of print or with printing papers will transform a commonplace photograph into anything other than a commonplace photograph.
By professional standards I do not waste a lot of film; but by the standards of many of my colleagues I probably miss quite a few of my opportunities. Still, the things I am after are not in a hurry as a rule.
Sometimes they are a matter of luck, sometimes of patience, waiting for an effect to be repeated that you have seen. It is usually some incidental detail that heightens the effect of a picture, stressing a pattern, deepening the sense of atmosphere.
Sometimes they are a matter of luck; the photographer could not expect or hope for them. Sometimes they are a matter of patience, waiting for an effect to be repeated that he has seen and lost or for one that he anticipates.
It is part of the photographer’s job to see more intensely than most people do. He must have and keep in him something of the receptiveness of the child who looks at the world for the first time or of the traveler who enters a strange country.
Andre Breton once said that a portrait should not only be an image but an oracle one questions, and that the photographer’s aim should be a profound likeness, which physically and morally predicts the subject’s entire future.
The good photographer will produce a competent picture every time whatever his subject. But only when his subject makes and immediate and direct appeal to his own interests will he produce a work of distinction.
But I did not always know just what it was I wanted to photograph. I believe it is important for a photographer to discover this, for unless he finds what it is that excites him, what it is that calls forth at once an emotional response, he is unlikely to achieve his best work.
I photographed what the camera was seeing. I interfered very little, and the lens produced anatomical images and shapes which my eyes had never observed.
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