A Quote by Constantine Manos

Taking good pictures is easy. Making very good pictures is difficult. Making great pictures is almost impossible — © Constantine Manos
Taking good pictures is easy. Making very good pictures is difficult. Making great pictures is almost impossible
It is easy to take good pictures, difficult to take very good pictures, and almost impossible to take great pictures.
Because even very young people are expert readers of pictures, you can convey very complex and subtle messages through pictures that you'd need loads of words to explain. Making a picture book is also a bit like making your own film - and you can make anything you want happen, however impossible!
It would be so easy to lose the plot now. It's not about achieving something for its own sake, and taking pictures for their own sake. But to make conscious decisions and choices, and it includes this constant questioning - Why am I taking pictures? Because really, the world is... it has pictures enough. I mean, there are enough pictures out there.
Pictures! Pictures! Pictures! Often, before I learned, did I wonder whence came the multitudes of pictures that thronged my dreams; for they were pictures the like of which I had never seen in real wake-a-day life. They tormented my childhood, making of my dreams a procession of nightmares and a little later convincing me that I was different from my kind, a creature unnatural and accursed.
I never know if my picture is a good picture or a bad picture, because I'm not making pictures thinking of the public, I'm making pictures to realize myself.
I'm making the art for me first. I'm making it because these are the pictures I want to see. I'm making pictures that don't yet exist.
All the good pictures that came so easily now make the next set of pictures virtually impossible in your mind.
In practically every film you experience, you can see the director following the text. Illustrating the words first, making the pictures after, and, alas, so often not making pictures at all, but holding up the camera to do its mimetic worst.
I was digging in the backyard to get my own clay and making pottery. And then I started taking pictures and built my own darkroom. I would go out at six in the morning and just take pictures.
You can do bad parts in good pictures or good parts in bad pictures and maybe get a little personal satisfaction. But the key to it all is good parts in good pictures.
On the personal side, I was rock climbing and taking pictures with my friends. We took all sorts of portrait and action pictures, and I was thinking at the time that these are inherently difficult to focus correctly.
Pictures often sit inside of pictures, but the edges of pictures and objects are rarely subjected to serious challenge; we are presented with distinct, whole pictures and objects.
I collected pictures and I drew pictures and I looked at the pictures by myself. And because no one else ever saw them, the pictures were perfect and true. They were alive.
Don't be afraid to take bad pictures, because good pictures are the mistakes of bad pictures.
Since I switched to an iPhone, I did start taking pictures of people I like. Until then, I strangely never took pictures. I think the iPhone became this space that was different enough from a "photograph," so I find myself taking pictures of daily things. If someone I dated asked me to take their picture, I would most likely find it disturbing. Perhaps nude pictures would be fun. But that would have to be on an iPhone.
I think there are a lot of pictures to make. I sometimes question whether I'm even an artist or just a painter. To me, the making of the pictures is the most important thing.
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