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The photographer must possess and preserve the receptive faculties of a child who looks at the world for the first time.

Bill Brandt

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.
BILL BRANDT

Environment Individual Photographer
Photography is not a sport. It has no rules. Everything must be dared and tried!
BILL BRANDT

Everything Photography Sports Tried
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.
BILL BRANDT

Asset Develop Leamed Photographer
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.
BILL BRANDT

Patience Photography Waiting
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.
BILL BRANDT

Emotions Essence Hidden Minds Most Pleasure Simple
Photography has no rules, it is not a sport. It is the result which counts, no matter how it is achieved.
BILL BRANDT

Matter Photography Sports
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 a child who looks at the world for the first time or of the traveler who enters a strange country
BILL BRANDT

Children Country Jobs Receptiveness Something
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.
BILL BRANDT

Distinction Photographer Produce
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.
BILL BRANDT

Believe Emotional Photography
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.
BILL BRANDT

Dark Light Photography
It is essential for the photographer to know the effect of his lenses. The lens is his eye, and it makes or ruins his pictures.
BILL BRANDT

Eye Photography Thinking
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.
BILL BRANDT

Country Jobs Photography Receptiveness
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.
BILL BRANDT

Oracles Portraits Profound
We are most of us too busy, too worried, too intent on proving ourselves right, too obsessed with ideas to stand and stare
BILL BRANDT

Busy Most Obsessed Ourselves Satre Worried
Photography is still a very new medium and everything must be tried and dare.
BILL BRANDT

Dare Mediums Photography
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.
BILL BRANDT

Interfere Liter Observed Photographer Shapes

The photographer must possess and preserve the receptive faculties of a child who looks at the world for the first time.

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The photographer must possess and preserve the receptive faculties of a child who looks at the world for the first time.

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