A Quote by Mathew Brady
The camera is the eye of history.
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The camera is not only an extension of the eye but of the brain. It can see sharper, farther, nearer, slower, faster than the eye. It can see by invisible light. It can see in the past, present, and future. Instead of using the camera only to reproduce objects, I wanted to use it to make what is invisible to the eye - visible.
The camera is not your eye, and it's not the eye of the audience. I don't think it's my eye, either. It belongs to the film.
With photography, everything is in the eye and these days I feel young photographers are missing the point a bit. People always ask about cameras but it doesn't matter what camera you have. You can have the most modern camera in the world but if you don't have an eye, the camera is worthless. Young people know more about modern cameras and lighting than I do. When I started out in photography I didn't own an exposure meter - I couldn't , they didn't exist! I had to guess.
What is important is for me to do my best work on camera. The camera is inches away from you and sees every micromovement of every muscle of your eye. And if you're not relaxed, the camera sees it.
Let's face it, the human eye is clumsy, sloppy, and unintelligible when compared to the camera's eye.
What the human eye observes casually and incuriously, the eye of the camera (the lens) notes with relentless fidelity.
Your camera is the best critic there is. Critics never see as much as the camera does. It is more perceptive than the human eye.
The difference between an amateur and a professional photographer is that the amateur thinks the camera does the work. And they treat the camera with a certain amount of reverence. It is all about the kind of lens you choose, the kind of film stock you use… exactly the sort of perfection of the camera. Whereas, the professional the real professional – treats the camera with unutterable disdain. They pick up the camera and sling it aside. Because they know it’s the eye and the brain that count, not the mechanism that gets between them and the subject that counts.
Having an eye patch actually makes it easier to look through a camera - I don't have to close one eye like everyone else.
I can use the camera to make a place or landscape; the camera to a greater extent projects rather than takes in or reproduces. The camera, or, rather, the eye, produces the impression of the place: I as a photographer am not passively taking in; I am active as a subject generating the object.
Making photos is helpful of course to master the craft. To get comfortable with the camera. Learn what a camera can do and how to use the camera successfully. Doing exercises for example if you try to find out things that the camera can do that the eye cannot do. So that you have a tool that will do what you need to be done. But then once you have mastered the craft the most important thing is to determine why you want to shoot pictures and what you want to shoot pictures of. That's where the thematic issue comes to life.
I do not see eye to eye with the camera.
Do not be afraid of mistakes. They will be with you always,every time you put a camera to your eye. [If you] shoot safe, and don't at least occasionally court disaster, you are not trying. Time to hang up the camera.
The contemporary artist...is not bound to a fully conceived, previsioned end. His mind is kept alert to in-process discovery and a working rapport is established between the artist and his creation. While it may be true, as Nathan Lyons stated, 'The eye and the camera see more than the mind knows,' is it not also conceivable that the mind knows more than the eye and the camera can see?
The dominant problem of pictorial art since the nineteen-fifties is photography, and, by extension, film and video. The basilisk eye of the camera has withered the pride of handworked mediums. Painting survives on a case-by-case basis, its successes amounting to special exemptions from a verdict of history.
One of the things I learned early on was the system of believing: you have to believe in what you say. The camera is the arbiter of truth; it's the all-seeing eye that can pick out discrepancies. You can't lie to the camera. You must believe in what you're saying, or the audience won't believe you.
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