A Quote by Edward Weston
My own eyes are no more than scouts on a preliminary search, for the camera's eye may entirely change my idea, even switch me to different subject matter. So I start out with my mind as free from image as the silver film on which I am to record, and I hope as sensitive.
Related Quotes
My own eyes are no more than scouts on a preliminary search, for the camera's eye may entirely change my idea.
My own eyes are no more than scouts on a preliminary search, or the camera's eye may entirely change my idea.
The contemporary artist...is not bound to a fully conceived, previsioned end. His mind is kept alert to in-process discovery and a working rapport is established between the artist and his creation. While it may be true, as Nathan Lyons stated, 'The eye and the camera see more than the mind knows,' is it not also conceivable that the mind knows more than the eye and the camera can see?
With photography, everything is in the eye and these days I feel young photographers are missing the point a bit. People always ask about cameras but it doesn't matter what camera you have. You can have the most modern camera in the world but if you don't have an eye, the camera is worthless. Young people know more about modern cameras and lighting than I do. When I started out in photography I didn't own an exposure meter - I couldn't , they didn't exist! I had to guess.
I often see the materials of photography as being a type of terrain. Emulsions, liquid developers, silver salts, and fixers interact, and I construct a landscape that I need to first explore in my mind's eye if I am to make it manifest as an artful image in silver.
Because if one has an image, however dim and romantic, of a journey's end, one may, in the end, surely reach it, after no matter how many detours and deceptions and abandonings of hope. And hope could never have been entirely abandoned, even in the worst days.
When I do a film score, I am basically nothing more than a fancy pencil for hire. I don't own any of the music when I am - it belongs to the film company - and likewise, when I am done, even if I come up with something astounding that I may want to revisit... in the world of film composition, you can't do that.
I can use the camera to make a place or landscape; the camera to a greater extent projects rather than takes in or reproduces. The camera, or, rather, the eye, produces the impression of the place: I as a photographer am not passively taking in; I am active as a subject generating the object.
I hate cameras. They interfere, they’re always in the way. I wish: if I could just work with my eyes alone. To get a satisfactory print, one that contains all that you intended, is very often more difficult and dangerous than the sitting itself. When I’m photographing, I immediately know when I’ve got the image I really want. But to get the image out of the camera and into the open, is another matter.
I have more of a relationship with the subject than I do with my camera equipment. To me, camera equipment is like a tin of shoe polish and a brush - I use that as a tool, but my basic camera is my emotion and my eyes. It's not anything to do with the wonderful cameras I use.
My being subsists only from a supreme point of view which is precisely incompatible with my point of view. The perspective in which I fade away for my eyes restores me as a complete image for the unreal eye to which I deny all images. A complete image with reference to a world devoid of image which imagines me in the absence of any imaginable figure. The being of a nonbeing of which I am the infinitely small negation which it instigates as its profound harmony. In the night shall I become the universe?
Though freedom and wealth are both good things which most of us desire and though we often need both to obtain what we wish, they still remain different. Whether or not I am my own master and can follow my own choice and whether the possibilities from which I must choose are many or few are two entirely different questions. The courtier living in the lap of luxury but at the beck and call of his prince may be much less free than a poor peasant or artisan, less able to live his own life and to choose his own opportunities for usefulness.
The image cannot be dispossessed of a primordial freshness, which idea can never claim. An idea is derivative and tamed. The imageis in the natural or wild state, and it has to be discovered there, not put there, obeying its own law and none of ours. We think we can lay hold of image and take it captive, but the docile captive is not the real image but only the idea, which is the image with its character beaten out of it.
It may seem that I am doing films in different languages, which of course I am, but more importantly, I am performing different characters and every character has so much to teach. It makes me happy that I am associated with so many film industries.
Questions are not happenstance thoughts nor are questions common problems of today which one picks up from hearsay and booklearning and decks out with a gesture of profundity questions grow out of confrontation with the subject matter and the subject matter is there only where eyes are, it is in this manner that questions will be posed and all the more considering that questions that have today fallen out of fashion in the great industry of problems. One stands up for nothing more than the normal running of the industry. Philosophy interprets its corruption as the resurrection of metaphysics.
I seem to walk in the world as two people. The normal everyday-me is as preoccupied, unobservant and oblivious to visual clues as I ever was. Then there is the photographer-me, the one who has a camera in hand and a specific project in mind, and then the world suddenly jumps to life with potential pictures, as if a switch had been thrown in my brain and a different person is looking out of the same eyes.
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