A Quote by Henri Matisse
If it is practiced by a man of taste, the photograph will have the appearance of art (but) the photographer must...intervene as little as possible, so as not to lose the objective charm which it naturally possesses.
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Photographs will always be impressive because they show us nature, and all artists will find in them a world of sensations. The photographer must therefore intervene as little as possible, so as not to cause photography to lose the objective charm which it naturally possesses, notwithstanding its defects.
The photographic image has great possibilities. The magical photograph attempts to go beyond the immediate context of the recorded experience into the realm of the indefinable. The photographer as magician is acutely aware of the multiplicity of associations submerged in the appearance of the objective world.
One way to cope with the provocations of novel art is to rest firm and maintain solid standards... set by the critic's long-practiced taste and by his conviction that only those innovations will be significant which promote the established direction of advanced art.
Men die, heroically or fruitlessly, but man carries on. In Israel it is the same: the farmer must till the fields, the young must make love, and the photographer must, I suppose, be ready to photograph it all.
To us, the difference between the #? photographer as an individual eye and the photographer as an objective recorder seems fundamental, the difference often regarded, mistakenly, as separating photography as art from #? photography as document. But both are logical extensions of what photography means: note-taking on, potentially, everything in the world, from every possible angle.
I advocate world government because I am convinced that there is no other possible way of eliminating the most terrible danger in which man has ever found himself. The objective of avoiding total destruction must have priority over any other objective.
Within every man and woman a secret is hidden, and as a photographer it is my task to reveal it if I can. The revelation, if it comes at all, will come in a small fraction of a second with an unconscious gesture, a gleam of the eye, a brief lifting of the mask that all humans wear to conceal their innermost selves from the world. In that fleeting interval of opportunity the photographer must act or lose his prize.
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.
A photograph records both the thing in front of the camera and the conditions of its making... A photograph is also a document of the state of mind of the photographer. And if you were to extend the idea of the set-up photograph beyond just physically setting up the picture, I would argue that the photographer wills the picture into being.
But before all else a work of art is the creation of love. Love for the subject first and for the medium second. Love is the fundamental necessity underlying the need to create, underlying the emotion that gives it form, and from which grows the unfinished product that is presented to the world. Love is the general criterion by which the rare photograph is judged. It must contain it to be not less than the best of which the photographer is capable.
Gardening as far as Gardening is Art, or entitled to that appellation, is a deviation from nature; for if the true taste consists, as many hold, in banishing every appearance of Art, or any traces of the footsteps of man, it would then be no longer a Garden.
I could not be happy with a man whose taste did not in every point coincide with my own. He must enter in all my feelings; the same books, the same music must charm us both.
Charm and nothing but charm at last grows a little tiresome. It's a relief then to deal with a man who isn't quite so delightful but a little more sincere.
I have always done the opposite of what I was trained to do... Having little technical background, I became a photographer. Adopting a machine, I do my utmost to make it malfunction. For me, to make a photograph is to make an anti-photograph.
The photographer's intentions do not determine the meaning of a photograph, which will have its own career, blown by the whims and loyalties of the diverse communities that have use for it.
It is not the truth that a man possesses, or believes that he possesses, but the earnest effort which he puts forward to reach the truth, which constitutes the worth of a man
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