Quotes of All Topics . Occasions . Authors
You can't just turn on when something happens, you have to be turned on all the time. Then things happen.
If you are out there shooting, things will happen for you. If you're not out there, you'll only hear about it.
There is no bad light. There is spectacular light and difficult light. It's up to you to use the light you have.
You sort of have to be always aware, even when you're not thinking of shooting. That's when the best stuff happens.
The more light you have in an image, the less drama you get. The details start taking over; the mystery is all gone.
We have always wanted to find the 'it-ness' of anything we shoot. We want to get as deep into the subject as we can.
Money and fame that photography can bring you are wonderful, but nothing can compare to the joy of seeing something new.
Gesture will survive whatever kind of light you have. Gesture can triumph over anything because of its narrative content.
Don't overthink things in front of you. I fit moves you, shoot it. If it's fun, shoot it. If you've never seen it before, shoot it.
If you're just going to meet consumer or clients' demands, you might as well be a plumber - the work will be more frequently available.
The drama of light exists not only in what is in the light, but also in what is left dark. If the light is everywhere, the drama is gone.
You will, in time, see and show others not just the superficial, but the details, the meanings, and the implications of all that you look at.
There really isn't anything that you could call 'bad' color. It all has to do with the amount of color you use and in what context it appears.
The whole world is there for you. Gifts will happen, but only if you are patient with life itself, the shooting process, and your own limitations.
All these factors are only valuable if you're curious. But in any case, the more knowledge you have, the more things are open and available to you.
You must not think of yourself as looking at the stage from the audience. You must think of it as theatre in the round and look at it from all sides.
One color alone means nothing. I acts as in a vacuum, with no other colors to relate to. It is only when colors relate to other colors that the fun begins.
Sometimes without shooting a picture germinates in your head. Other times, you keep taking pictures of the same thing and watch the images mature and grow.
You see shape, and how the light hits things, how the color changes from one end of the photo to the other, and how movement affects the mood of the photo.
First, perseverance trumps talent. Second, do what you want to do, otherwise why bother? Third, be ethical; it might rub off on others. Fourth, don't give up.
Color is seductive. It changes as it interacts with other colors, it changes because of the light falling upon it, and it changes as it becomes larger in size.
... there's one of the great lies of all times, that computers save time. They don't. They're time suckers. So, I'm trying not to get involved in the Photoshop.
Remember that most people (those who are not photographers) don't even see the things that you missed. Many don't even look. Ergo, you are way ahead of the game.
I take pictures, and they are there for the taking. I'll tell you a quote that I have always thought about. Arthur Miller said, I try to create the poem from the evidence.
A photographer's art is more in his perceptions than his execution. In a painter, I think the perception is only the first step, and then you have a kind of hard road of execution.
'Color' is quite different from 'colors.' In an image with many colors, we find that all the colors compete with each other rather than interacting with each other. The results" colors.
I try not to tell students where to shoot, when to shoot, or what to shoot. I feel finding the picture is the most important part of being a photographer. The actual shooting is of lesser importance.
Had I not been told to look, I would have quite, ignorant of what was really there, because I had 'made plans' and was wearing visual and emotional blinders that limited my perceptions and my vision.
You have to have a lot of 'overage' so that your failures aren't the only thing you come home with. You've got to have a lot of things that were magnificent failures, but you want some magnificent successes.
Color really doesn't have interaction if it's full of colors. It's the interaction or relationship among or between colors that makes a color image. This usually happens with a few colors, not a glut of them.
The awareness of the quality of space in out photos is akin to our awareness of the very air in our photos, the atmosphere that pervades every square inch of our image and yet is often invisible to the photographer.
Some have said that if you take a great picture in color and take away the color, you'll have a great black-and-white picture. But if you're shooting something about color and you take away the color, you'll have nothing.
When you shoot, that is opportunity number one to make a statement. When you edit, you have opportunity number two to make your statement. It could be an affirmation of your first choice or could go off in another direction.
Light gesture and color of the key compliments of any photograph. Light and color are obvious, but it is just her that is the most important. There is gesture in everything. It's up to you to find a gesture that is most telling.
Since the background is as important as the subject, you mustn't let it default by chance. You must control not only vertical and horizontal, you must be aware of the depth of field (or lack of it) that you want in the background.
Sometimes as you work, you find that you are learning things about your own perceptions and motivations that are way below you consciousness. If you get lucky, you recognize what you are doing, but all too often we don't find the connection between our work and our own motivations.
As you see something that yo want to shot and it's bearing down on you, it's important to start framing long before the subject gets close to you. The light will reveal itself possibly long before you want to take the image, but you have to wait until the picture comes to you, and if you've been anticipating carefully when the subject will be in position, the background will have been figured out in advance.
You find that you have to do many things, more than just lift up the camera and shoot, and so you get involved in it in a very physical way. You may find that the picture you want to do can only be made from a certain place, and you're not there, so you have to physically go there. And that participation may spur you on to work harder on the thing, . . . because in the physical change of position you start seeing a whole different relationship.