A Quote by Carl Mydans

One is not really a photographer until preoccupation with learning has been outgrown and the camera in his hands is an extension of himself. This is where creativity begins.
The photographer's most important and likewise most difficult task is not learning to manage his camera, or to develop, or to print. It is learning to see photographically — that is, learning to see his subject matter in terms of the capacities of his tools and processes, so that he can instantaneously translate the elements and values in a scene before him into the photograph he wants to make.
This is how you can tell a real photographer: mostly, a real photographer does not say 'I wish I had my camera on me right now'. Instead a real photographer pulls out her camera and takes the photograph.
Photography is a medium of formidable contradictions. It is both ridiculously easy and almost impossibly difficult. It is easy because its technical rudiments can readily be mastered by anyonwith a few simple instructions. It is difficult because, while while the artist working in any other medium begins with a blank surface and gradually brings his conception into being, the photographer is the only imagemaker who begins with the picture completed. His emotions, his knowledge, and his native talent are brought into focus and fixed beyond recall the moment the shutter of his camera has closed.
If the photographer is interested in the people in front of his lens, and if he is compassionate, it's already a lot. The instrument is not the camera but the photographer.
My teacher introduced me to this photographer Eugène Atget. He was a French photographer in the late 1800s up until 1927 in Paris. He didn't consider himself an artist, but he was probably one of the artists of the 20th century. This guy documented all of Paris during those years. It's unbelievable. The books are phenomenal. The Museum of Modern Art has all his stuff now and [American photographer] Berenice Abbott saved his work. Not very much is known about his life, but the work is unreal and it totally spoke to me. He was the only artist for a number of years that I cared about at all.
Prayer is preoccupation with our needs. Praise is preoccupation with our blessings. Worship is preoccupation with GOD Himself.
When any man accumulates more than he can earn with his own hands, he begins to enrich himself at the expense of the youth, the sweat, the blood, the joy of his fellow men.
You know, the Chinese don't like to be photographed because they believe that a part of their life is being taken away by the photographer. And in a way, they're right. The photographer is trying to get the prettiest moment of a life in his camera.
When grace begins to rule, then our preoccupation with ourselves begins to leave.
I've never not been sure that I was a photographer any more than you would not be sure you were yourself. I was a photographer, or wanting to be a photographer, or beginning - but some phase of photographer I've always been.
Every photograph that is made whether by one who considers himself a professional, or by the tourist who points his snapshot camera and pushes a button, is a response to the exterior world, to something perceived outside himself by the person who operates the camera.
Wealth begins . . . in giving on all sides by tools and auxiliaries the greatest possible extension to our powers; as if it added feet and hands and eyes and blood. . . .
What some highbrows call rapport is nothing more than a mild flirtation between photographer and the girl on the other side of the camera. Some models get so professional they can send hours flirting with the camera itself while the poor photographer is reduced to the role of spectator.
I got a camera when I was nine years old and it wasn't until I was a model that I realized you could be a photographer for a job.
A man only begins to be a man when he ceases to whine and revile, and commences to search for the hidden justice which regulates his life. And he adapts his mind to that regulating factor, he ceases to accuse others as the cause of his condition, and builds himself up in strong and noble thoughts; ceases to kick against circumstances, but begins to use them as aids to his more rapid progress, and as a means of the hidden powers and possibilities within himself.
The way someone who's being photographed presents himself to the camera, and the effect of the photographer's response on that presence, is what the making of a portrait is all about.
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