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There are no rules for good photographs, there are only good photographs.
— Photography
There are no rules for good photographs, there are only good photographs.
A great photograph is a full expression of what one feels about what is being photographed in the deepest sense, and is, thereby, a true expression of what one feels about life in its entirety.
I have often thought that if photography were difficult in the true sense of the term — meaning that the creation of a simple photograph would entail as much time and effort as the production of a good watercolor or etching — there would be a vast improvement in total output. The sheer ease with which we can produce a superficial image often leads to creative disaster.
It shows an image that could only have been produced photographically.
In photography everything is so ordinary; it takes a lot of looking before you learn to see the ordinary.
Photography is the simultaneous recognition, in a fraction of a second, of the significance of an event as well as of a precise organisation of forms which give that event its proper expression.
Black and white are the colors of photography. To me, they symbolize the alternatives of hope and despair to which mankind is forever subjected. Most of my photographs are of people; they are seen simply, as through the eyes of the man in the street. There is one thing the photograph must contain, the humanity of the moment. This kind of photography is realism.
Life for a photographer cannot be a matter of indifference and it is important to see what is invisible to others.
You put your camera around your neck in the morning, along with putting on your shoes, and there it is, an appendage of the body that shares your life with you. The camera is an instrument that teaches people how to see without a camera.
One should really use the camera as though tomorrow you'd be stricken blind. To live a visual life is an enormous undertaking, practically unattainable. I have only touched it, just touched it.
It was October 1966 and the new development of the new satellite system, Hexagon, was underway. The project was a follow-on to very successful Corona satellite program and a complement to the higher-resolution Gambit satellite. All these programs required 315,000 feet of film to be dropped in re-entry vehicles from orbit and retrieved in mid-air by U.S. forces. Gambit and Hexagon were declassified late this year, and its engineers were profiled this week by the Associated Press.
From 1971 to 1986 a total of 20 satellites were launched, each containing 60 miles (100 kilometers) of film and sophisticated cameras that orbited the earth snapping vast, panoramic photographs of the Soviet Union, China and other potential foes. The film was shot back through the earth's atmosphere in buckets that parachuted over the Pacific Ocean, where C-130 Air Force planes snagged them with grappling hooks.
The photograph extends and multiplies the human image to the proportions of mass-produced merchandise. The movie stars and matinee idols are put in the public domain by photography. They become dreams that money can buy.
The step from the age of Typographic Man to the age of Graphic Man was taken with the invention of photography.
The photograph has reversed the purpose of travel, which until now had been to encounter the strange and unfamiliar. ... The world itself becomes a sort of museum of objects that have been encountered before in some other medium.
Photography is a strong tool, a propaganda device, and a weapon for the defense of the environment... Photographs are believed more than words; thus they can be used persuasively to show people who have never taken the trouble to look what is there. They can point out beauties and relationships not previously believed or suspect to exist.
A photograph is a biography of a moment.
Photography records the gamut of feelings written on the human face, the beauty of the earth and skies that man has inherited, and the wealth and confusion man has created. [It is] a major force in explaining man to man.
Today, I am no longer concerned with photography as an art form. I believe it is potentially the best medium for explaining man to himself and his fellow man.
Photography as a fad is well-nigh on its last legs, thanks principally to the bicycle craze.
There is a reality — so subtle that it becomes more real than reality. That's what I'm trying to get down in photography.
Photography, if practiced with high seriousness, is a contest between a photographer and the presumptions of approximate and habitual seeing. The contest can be held anywhere...
My own eyes are no more than scouts on a preliminary search, or the camera's eye may entirely change my idea.
