A Quote by Bill Brandt

No amount of toying with shades of print or with printing papers will transform a commonplace photograph into anything other than a commonplace photograph. — © Bill Brandt
No amount of toying with shades of print or with printing papers will transform a commonplace photograph into anything other than a commonplace photograph.
Anything that excites me for any reason, I will photograph; not searching for unusual subject matter, but making the commonplace unusual.
The characteristic of the hour is that the commonplace mind, knowing itself to be commonplace, has the assurance to proclaim the rights of the commonplace and to impose them wherever it will.
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.
I don't really remember the day when I stood behind my camera with Henry Kissinger on the other side. I am sure he doesn't remember it either. But this photograph is here now to prove that no amount of kindness on my part could make this photograph mean exactly what he.. or even I.. wanted it to mean. It's a reminder of the wonder and terror that is a photograph.
Natural talent means to have the ability to transform, to evolve, to play and role-play with the photographer and the stylist. And really be an actress rather than just a mannequin. So that involves a tremendous amount of confidence and your ability to expose yourself to anything that will make a better photograph.
What if I said that every photograph I made was set up? From the photograph, you can't prove otherwise. You don't know anything from the photograph about how it was made, really.
Someone said to me, early on in film school... if you can photograph the human face you can photograph anything, because that is the most difficult and most interesting thing to photograph.
As far as the surface is concerned - oil on canvas, conventionally applied - my pictures have little to do with the original photograph. They are totally painting (whatever that may mean). On the other hand, they are so like the photograph that the thing that distinguished the photograph from all other pictures remains intact.
Whatever precautions you take so the photograph will look like this or that, there comes a moment when the photograph surprises you. It is the other's gaze that wins out and decides.
Men of genius are not to be analysed by commonplace rules. The rest of us who have been or are leaders, more commonplace in our quality, will do well to remember two things. One is never to forget posterity when devising a policy. The other is never to think of posterity when making a speech.
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.
There is a considerable amount of manipulation in the printmaking from the straight photograph to the finished print. If I do my job correctly that shouldn't be visible at all, it should be transparent.
It isn't an easy job to paint oneself - at any rate if it is to be different from a photograph. And you see - this, in my opinion, is the advantage that impressionism possesses over all the other things; it is not banal, and one seeks after a deeper resemblance than the photograph.
If you finish like a photograph, on the other hand, the picture has as much personality as a photograph.
We live in an age of miracles so commonplace that it can be difficult to see them as anything other than part of the daily texture of living
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