A Quote by Andre Kertesz

Seeing is not enough; you have to feel what you photograph — © Andre Kertesz
Seeing is not enough; you have to feel what you photograph
I never paint a portrait from a photograph, because a photograph doesn't give enough information about what the person feels.
There is one thing the photograph must contain, the humanity of the moment. This kind of photography is realism. But realism is not enough - there has to be vision, and the two together can make a good photograph.
Between two fantasy alternatives, that Holbein the Younger had lived long enough to have painted Shakespeare or that a prototype of the camera had been invented early enough to have photographed him, most Bardolators would choose the photograph. This is not just because it would presumably show what Shakespeare really looked like, for even if the photograph were faded, barely legible, a brownish shadow, we would probably still prefer it to another glorious Holbein. Having a photograph of Shakespeare would be like having a nail from the True Cross.
I could feel myself changing physically. It was like something dropped out of the sky. Seeing her on the fire escape had given me a certain feeling, and then when I saw the photograph of her, it gave me a similar feeling. And I thought that was an incredibly powerful thing - that a photograph could give you a feeling that was similar to a feeling you had in the physical world. Nobody could've told me that. I knew what I was going to do for the rest of my life.
Most readers look at the photograph first. If you put it in the middle of the page, the reader will start by looking in the middle. Then her eye must go up to read the headline; this doesn't work, because people have a habit of scanning downwards. However, suppose a few readers do read the headline after seeing the photograph below it. After that, you require them to jump down past the photograph which they have already seen. Not bloody likely.
How foolish of me to believe that it would be that easy. I had confused the appearance of trees and automobiles, and people with a reality itself, and believed that a photograph of these appearances to be a photograph of it. It is a melancholy truth that I will never be able to photograph it and can only fail. I am a reflection photographing other reflections within a reflection. To photograph reality is to photograph nothing.
And that desire-the strong desire to take pictures-is important. It borders on a need, based on a habit: the habit of seeing. Whether working or not, photographers are looking, seeing, and thinking about what they see, a habit that is both a pleasure and a problem, for we seldom capture in a single photograph the full expression of what we see and feel. It is the hope that we might express ourselves fully-and the evidence that other photographers have done so-that keep us taking pictures.
The photograph is a tool used to take you back to a certain point in one's life, to remember a face or a place you once stood. I feel there is always something quite melancholic about a photograph.
What I feel for the ball, what I enjoy, as a player and now as a coach, the satisfaction I feel when I see great players, is the same as in the school playground: seeing moves build, seeing understanding, passes flow, seeing it all fit together. That's what I admire and ultimately, that's what you learn at school.
I feel theres enough seriousness in the world without seeing it in the theatre.
I feel there's enough seriousness in the world without seeing it in the theatre.
When you photograph people in color you photograph their clothes. When you photograph people in black and white, you photograph their soul!
I do not photograph for ulterior purposes. I photograph for the thing itself - for the photograph - without consideration of how it may be used.
At some point in life the world's beauty becomes enough. You don't need to photograph, paint or even remember it. It is enough.
It's easy to love yourself when you feel good enough, when you feel special enough, when you're loved enough, when you have enough money, and you're appreciated.
If you ask people to remember a painting and a photograph, their description of the photograph is far more accurate than that of the painting. Strangely enough, there is a physical element intertwined with the painting. It shakes loose an emotional element within the viewer.
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