A Quote by Bill Brandt
The good photographer will produce a competent picture every time whatever his subject. But only when his subject makes and immediate and direct appeal to his own interests will he produce a work of distinction.
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(1) The more thoroughly a photographer explores his subject with the camera (i.e., the more pictures he makes), the more he sees and the better his chance of getting good results. (2) Even slight changes in subject approach can make significant differences in the effect of the picture.
Good work is no done by "humble" men. It is one of the first duties of a professor, for example, in any subject, to exaggerate a little both the importance of his subject and his own importance in it. A man who is always asking "Is what I do worth while?" and "Am I the right person to do it?" will always be ineffective himself and a discouragement to others. He must shut his eyes a little and think a little more of his subject and himself than they deserve. This is not too difficult: it is harder not to make his subject and himself ridiculous by shutting his eyes too tightly.
A photographer is a witness. He has a moral duty. Every picture must be true and honest. I believe a photographer's strength is his ability to accurately record reality. There are photographers who think they are lucky if they find unusual or special subject. But it is never the subject that is so marvelous. It is how alive and real the photographer can make it.
The true husbandman will cease from anxiety, as the squirrels manifest no concern whether the woods will bear chestnuts this year or not, and finish his labor with every day, relinquishing all claim to the produce of his fields, and sacrificing in his mind not only his first but last fruits also.
A photographer must always work with the greatest respect for his subject and in terms of his own point of view.
In common with other artists the photographer wants his finished print to convey to others his own response to his subject. In the fulfillment of this aim, his greatest asset is the directness of the process he employs. But this advantage can only be retained if he simplifies his equipment and technic to the minimum necessary, and keeps his approach from from all formula, art-dogma, rules and taboos. Only then can he be free to put his photographic sight to use in discovering and revealing the nature of the world he lives in.
The master in the art of living makes little distinction between his work and his play, his labor and his leisure, his mind and his body, his information and his recreation, his love and his religion. He hardly knows which is which. He simply pursues his vision of excellence at whatever he does, leaving others to decide whether he is working or playing. To him he's always doing both.
Every subject's duty is the King's; but every subject's soul is his own. Therefore, should every soldier in the wars do as every sick man in his bed, wash every mote out of his conscience; and dying so, death is to him advantage; or not dying, the time was blessedly lost wherein such preparation was gained; and in him that escapes, it were no sin to think that, making God so free an offer, He let him outlive the day to see His greatness and to teach others how they should prepare.
In a certain sense a writer is 'selected' by his subject - his subject being the consciousness of his own era.
We shall have to share out the fruits of technology among the whole of mankind. The notion that the direct and immediate producers of the fruits of technology have a proprietary right to these fruits will have to be forgotten. After all, who is the producer? Man is a social animal, and the immediate producer has been helped to produce by the whole structure of society, beginning with his own education.
The personality and style of a photographer usually limits the type of subject with which he deals best. For example Cartier-Bresson is very interested in people and in travel; these things plus his precise feeling for geometrical relationships determine the type of pictures he takes best. What is of value is that a particular photographer sees the subject differently. A good picture must be a completely individual expression which intrigues the viewer and forces him to think.
I think it will be found that he who speaks with most authority on a given subject is not ignorant of what has been said by his predecessors. He will take his place in a regular order, and substantially add his own knowledge to the knowledge of previous generations.
We must grant the artist his subject, his idea, his donn´e: our criticism is applied only to what he makes of it.
That which man dreams of and to Which he aspires, unless fulfilled in his own lifetime, can produce no actual satisfaction to him. It will be self deceiving and a waste of time to advocate dialogue with those who are not ready to listen, because it is obvious that the freedom of millions is not a commodity subject to bargaining. It is better to die free than to live as slaves.
It is essential for the photographer to know the effect of his lenses. The lens is his eye, and it makes or ruins his pictures. A feeling for composition is a great asset. I think it is very much a matter of instinct. It can perhaps be developed, but I doubt if it can be learned. To achieve his best work, the young photographer must discover what really excites him visually. He must discover his own world.
The Lord gave the wonderful promise of the free use of His name with the Father in conjunction with doing His works. The disciple who lives only for Jesus' work and kingdom, for His will and honor, will be given the power to appropriate the promise. Anyone grasping the promise only when he wants something very special for himself will be disappointed, because he is making Jesus the servant of his own comfort. But whoever wants to pray the effective prayer of faith because he needs it for the work of the Master will learn it, because he has made himself the servant of his Lord's interests.
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