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.
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.
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.
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.
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.
The lens freezes time and space in what may be an optical slavery or, contrarily, the crystallization of meaning. The limits of the lens’ vision are esthetically often a virtue.
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.
Photography is not only drawing with light, though light is the indispensable agent of its being. It is modeling or sculpturing with light, to reproduce the plastic form of natural objects. It is painting with light.
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.
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.
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