A Quote by Andre Kertesz
I just walk around, observing the subject from various angles until the picture elements arrange themselves into a composition that pleases my eye.
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Composition is the art of arranging in a decorative manner the various elements which the painter uses to express his sentiments. In a picture every separate part will be visible and... everything which has no utility in the picture is for that reason harmful.
I may juggle the composition, as the strength of a picture is in the composition. Or I may play with the light. But I never interfere with the subject. The subject has to fall into place on its own and, if I don't like it, I don't have to print it
In some exquisite critical hints on "Eurythmy," Goethe remarks, "that the best composition in pictures is that which, observing the most delicate laws of harmony, so arranges the objects that they by their position tell their own story." And the rule thus applied to composition in painting applies no less to composition in literature.
The first picture of his I ever saw was during a lecture at the Rhyl camera club. I was 16 and the speaker was Emrys Jones. He projected the picture upside down. Deliberately, to disregard the subject matter to reveal the composition. It's a lesson I've never forgotten.
I have a picture of myself in my mind as I walk around every day, until I look in the mirror-and then I'm stunned
I have a picture of myself in my mind as I walk around every day, until I look in the mirror-and then I'm stunned.
Fill your plate with the colours of the rainbow. What pleases the eye, pleases the body.
It appears to me that the subject of music, from Machaut to Boulez, has always been its construction. Melodies of 12-tone rows just don't happen. They must be constructed....To demonstrate any formal idea in music, whether structure or stricture, is a matter of construction, in which the methodology is the controlling metaphor of the composition...Only by 'unfixing' the elements traditionally used to construct a piece of music could the sounds exist in themselves--not as symbols, or memories which were memories of other music to begin with.
Whenever I arrive on a real location, I have to move around and work out what the best angles are going to be. When I was moving around with the lens, I discovered things that the naked eye would not have.
For all the time schools devote to the teaching of mathematics, very little (if any) is spent trying to convey just what the subject is about. Instead, the focus is on learning and applying various procedures to solve math problems. That's a bit like explaining soccer by saying it is executing a series of maneuvers to get the ball into the goal. Both accurately describe various key features, but they miss the what and the why of the big picture.
Even when I'm just sitting at my desk, I have to get up every twenty minutes or so and walk around, walk around, walk around, and then I can go back to the page. I can't just sit there for hours at a time. Language comes out of the body as much as the mind.
I love observing both vocally and by sight. So I take on a lot of those elements of people around me.
What I end up shooting is the situation. I shoot the composition and my subject is going to help the composition or not.
Now what else is the whole life of mortals, but a sort of comedy in which the various actors, disguised by various costumes and masks, walk on and play each ones part until the manager walks them off the stage?
The gods, likening themselves to all kinds of strangers, go in various disguises from city to city, observing the wrongdoing and the righteousness of men.
In the metaphysical elements of aesthetics the various nonmoral feelings are to be made use of; in the elements of moral metaphysics the various moral feelings of men, according to the differences in sex, age, education, and government, of races and climates, are to be employed.
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