A Quote by Philippe Halsman
I make the woman look at the camera as a symbol of all the eyes that will see the picture I am making.
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A Leica camera is a camera we can keep both eyes open. You can look for the free eye that doesn't look to viewfinder and in all directions. It's like backwards - and sometimes also backwards, and you can look for the viewfinder and see your picture.
Tell a story with your eyes when you face the camera - it makes all the difference. My best tip for making skin look good in photographs is to go easy on the make-up. You don't want it to look heavy and mask-like.
I always think, 'What does this picture mean? What's the best place to put my camera? Do I have anything extra in the picture, things in the background that will distract? Am I in the basic position that will give the essential things for this picture but not too much?'
One time a guy handed me a picture. He said, 'Here's a picture of me when I was younger.' Every picture is of you when you were younger. 'Here's a picture of me when I'm older.' 'You son of bit, how'd you pull that off Let me see that camera. What's it look like'
But then you hear that he can't hear you, you see that he can't see you. You are not here--and you haven't even died yet. You see yourself through his eyes, as The Generic Woman, the skirted symbol on the ladies' room door.
A camera alone does not make a picture. To make a picture you need a camera, a photographer and above all a subject. It is the subject that determines the interest of the photograph.
The glance is natural magic. The mysterious communication established across a house between two entire strangers, moves all the springs of wonder. The communication by the glance is in the greatest part not subject to the control of the will. It is the bodily symbol of identity with nature. We look into the eyes to know if this other form is another self, and the eyes will not lie, but make a faithful confession what inhabitant is there.
The first time I worked with colors was by making these mosaics of Pantone swatches. They end up being very large pictures, and I photographed with a very large camera - an 8x10 camera. So you can see the surface of every single swatch - like in this picture of Chuck Close. And you have to walk very far to be able to see it.
A word I want to see written on my grave: I am alive like you, and I am standing beside you. Close your eyes and look around, you will see me in front of you.
But everybody has exactly the same smiling frightened face, with the look that says: "I'm important. If you only get to know me, you will see how important I am. Look into my eyes. Kiss me, and you will see how important I am.
On camera, the audience can see your eyes close up - they can see behind your eyes - and when you're on stage, you need to make sure that the person sitting in the back row can feel what's happening behind your eyes, even if they can't see them. Having a live audience is exhilarating and exciting all on its own, but you know, it is quite different.
When the photographer is nearby, I like to say, 'Quick, get a photo of me looking into the camera,' because I'm never looking into the camera. Christopher Nolan looks into the camera, but I think most directors don't, so whenever you see a picture of a director looking at the camera, it's fake.
Many oriental cultures make a distinction between two ways of looking - 'hard eyes' and 'soft eyes'. When we look with hard eyes, we see specific details with sharp focus, but we don't see the relationships between different details as well. When we look with soft eyes we see the relationships between everything in our field of vision, but with this softer focus, we don't see all the details as clearly. It's possible to look in two ways at once.
Never look directly into the camera, stare off. Nobody wants to see those eyes, they want to see the bod.
For me, what was important was to record everything I saw around me, and to do this as methodically as possible. In these circumstances a good photograph is a picture that comes as close as possible to reality. But the camera never manages to record what your eyes see, or what you feel at the moment. The camera always creates a new reality.
It's a hard job to get the camera to see it like you see it. Sometimes you have it just the way you want it, and then you look in the camera and you don't have the balance. The main thing is to get the camera to see it the way you see it.
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