A Quote by Alfred Eisenstaedt
I seldom think when I take a picture. My eyes and fingers react - click. But first, it's most important to decide on the angle at which your photograph is to be taken.
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For me the most important thing to do in a selfie is to have an opinion and to say something with the picture. Don't just take a picture of yourself like, 'Here I am.' It's what are you thinking? Are you happy? Are you angry? Do you like it? Do you not like it? Think an emotion and apply it to your eyes.
Perhaps the first photograph ever taken, Niépce's view of the rooftops over Saint-Loup-de-Varennes, was a truly pure photograph. The second one he took, he was already comparing nature to the first photograph he had taken.
When a person looks at a photograph you've taken, they will always think of themselves, their own life experience. They will relate your photograph to their memories. That interplay is where a picture comes alive and grows into something. They function like invitations.
You’ve never been to school, ever? If that’s true— and you’re right, I don’t think it is—what made you decide to come this year?” “You....Your eyes, Nora. Those cold, pale gray eyes are surprisingly irresistible.” He tipped his head sideways, as if to study me from a new angle. “And that killer curvy mouth
There are cultures that believe having your photograph taken steals your soul. I don't think there is a stolen soul in a picture, but still - why is it so hard to throw them away?
Even you, who’ve lived inside your body for 64 years, would apparently be unable to recognize your foot in an isolated photograph of that foot, not to think of your ear or one of your eyes or elbow, also familiar to you in the context of the whole, but utterly anonymous when taken piece by piece. We are all aliens to ourselves, and if we have any sense of who we are, it is only because we live inside the eyes of others.
I think that's the strength of photography - to decide the decisive moment, to click in the moment to come up with a picture that never comes back again.
...it is seldom indeed that a composition which was poor when the picture was taken can be improved by reshaping it in the dark room.
What is important to my work is the individual picture. I photograph stories on assignment, and of course they have to be put together coherently. But what matters most is that each picture stands on its own, with its own place and feeling.
It is a great honor for me to be compared to Henri Cartier-BressonBut I believe there is a very big difference in the way we put ourselves inside the stories we photograph. He always strove for the decisive moment as being the most important. I always work for a group of pictures, to tell a story. If you ask which picture in a story I like most, it is impossible for me to tell you this. I don't work for an individual picture. If I must select one individual picture for a client, it is very difficult for me.
The first photograph I ever experienced consciously is a picture of my mother from before she gave birth to me. Unfortunately, it's a black-and-white photograph, which means that many of the details have been lost, turning into nothing but gray shapes.
Perishability in a photograph is important in a picture. If a photograph looks perishable we say, "Gee, I'm glad I have that moment."
I like having my picture taken and being a glamorous person. Sometimes when I find myself getting impatient, I just remember the times I cried my eyes out because nobody wanted to take my picture at the Trocadero.
A photograph is a moral decision taken in one eighth of a second, or one sixteenth, or one one-hundred-and-twenty-eighth. Snap your fingers; a snapshot's faster.
When students scoff at the idea of a magical relation between a picture and what it represents, ask them to take a photograph of their mother and cut out the eyes.
When you can look a thing dead in the eye, acknowledge that it exists, call it exactly what it is, and decide what role it will take in your life then, my Beloved, you have taken the first step toward your freedom.
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