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.
Indeed, I feel the simplest approach can often be most effective. A subject placed squarely in the center of the frame, if attention is not distracted from it by fussy surroundings, has a simple dignity which makes it all the more impressive.
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.
It is the gift of seeing the life around them clearly and vividly, as something that is exciting in its own right. It is an innate gift, varying in intensity with the individual’s temperament and environment.
A feeling for composition is a great asset. I think it is very much a matter of instinct. It can perhaps be developed, but I doubt if it can be learned.
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.
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.
Photographers should follow their own judgment, and not the fads and dictates of others. Photography is still a very new medium and everything is allowed and everything should be tried and dared…
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.
Very rarely are we able to free our minds of thoughts and emotions and just see for the simple pleasure of seeing. And so long as we fail to do this, so long will the essence of things be hidden from us.
And only the photographer himself knows the effect he wants. He should know by instinct, grounded in experience, what subjects are enhanced by hard or soft, light or dark treatment.
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