A Quote by Alexey Brodovitch

Photographers should make three or four prints from one negative and then crop them differently. When I was art director at Harper's Bazaar and at several agencies as a consultant, young photographers would bring me their portfolios and all the prints would be in the same standard proportions, either for the Leica or the Rolleiflex. Many times, by limiting themselves in this way, they missed the true potentialities of their photographs.
I would begin by collecting lithographs and etchings. It's a way of coming in and benefiting from real quality art. Even younger artists make wonderful prints. Prints can become very valuable. That's how I began collecting.
I have no little insight into the feelings of furniture, and treat books and prints with a reasonable consideration. How some people use their pictures, for instance, is a mystery to me; very revolting all the same--portraits obliged to face each other for ever--prints put together in portfolios.
Why do photographers start giving numbers to their prints? It’s absurd. What do you do when the 20th print has been done? Do you swallow the negative? Do you shoot yourself? It’s the gimmick of money.
Photographers - idiots, of which there are so many - say, "Oh, if only I had a Nikon or a Leica, I could make great photographs." That's the dumbest thing I ever heard in my life. It's nothing but a matter of seeing, and thinking, and interest.
I first met Michael Angel when he came to my office with a box of prints and asked me whether I thought he should make dresses from the prints.
I firmly believe that Harper's Bazaar is the star. I am there to make it the best it possibly can be, but there should be no confusion. I want to put Harper's Bazaar front and center.
When I work as an art director, I don't ask to see sketches from illustrators or photographers. I give them a basic idea, and then I say, 'Send it to me, it'll be fine' - I get out of the way.
I'm happy to help Crest Whitestrips on their mission to inspire photographers everywhere to capture smile moments and would encourage aspiring photographers to express themselves through their photos.
Some of the people who are now manipulating photos, such as Andreas Gursky, make the argument - rightly - that the 'straight' photographs of the 1940s and 50s were no such thing. Ansell Adams would slap a red filter on his lens, then spend three days burning and dodging in the dark room, making his prints. That's a manipulation. Even the photographs of Henri Cartier-Bresson, with all due respect to him, are notoriously burned and dodged.
A photographer needs to be a good editor of negatives and prints! In fact, most of the prints I make are for my eyes only, and they are no good. I find the single most valuable tool in the darkroom is my trash can - that's where most of my prints end up.
As an amateur you have an advantage over photographers - you can do as you wish... This should make amateurs the happiest of photographers.
I was taking all prints and I brought them to the Magnum meetings, trying the old Josef Koudelka trick: Give them to photographers, who are getting bored during the talks about the economics of the agency, to look through with a pen. They'll separate them in two piles. I started to find the core pictures that people seem to relate to.
My ideal is to achieve the ability to produce numberless prints from each negative, prints all significantly alive, yet indistinguishably alike, and to be able to circulate them at a price not higher than that of a popular magazine, or even a daily paper. To gain that ability there has been no choice but to follow the road I have chosen.
Prints can absolutely be investment pieces. I've seen prints from my collections from five years ago on the street now. It's totally possible. If the colors don't age and if the fabric is beautiful, then of course people should wear it year after year.
As a filmmaker, you complete a film you have spent years obsessively making, and you know the release prints will never look quite the same; prints get scratched and dirty.
The main thing is to study pictures and stop listening to the pontifictaions of photographers. Photographers aren't oracles of wisdom. If they're good photographers, then take a good look at their pictures - what else do you need?
This site uses cookies to ensure you get the best experience. More info...
Got it!