A Quote by Sam Abell

As I have practiced it, photography produces pleasure by simplicity. I see something special and show it to the camera. A picture is produced. The moment is held until someone sees it. Then it is theirs.
Capablanca's play produced and still produces an irresistable artistic effect. In his games a tendency towards simplicity predominated, and in this simplicity there was a unique beauty of genuine depth.
It is said that the camera cannot lie, but rarely do we allow it to do anything else, since the camera sees what you point it at: the camera sees what you want it to see.
I look at the camera as sort of a missing link between motion picture photography and still photography.
Photographs also show the way that the camera sees. It's not just me or you or anybody else. The camera does something that is different from our own setting.
Photography sees surfaces, it doesn't see space. We see space but the camera doesn't.
[Cameras] tend to turn people into things and the photograph extends and multiplies the human image to the proportions of mass-produced merchandise and, [in the age of photography] the world itself becomes a sort of museum of objects that have been encountered before in some other museum and to say that the camera cannot lie is merely to underline the multiple deceits that are now practiced in its name.
The Bible Belt, the religious South, is the section of the country that practiced slavery until the war made them give it up. They practiced segregation. They practiced lynchings. I don't see any great value in that.
The photographer sees the world as a child sees the bits of glass in a kaleidoscope. If he has a camera with which he can secure these ever-changing combinations, he is then able to look on them again and again, and he has the further pleasure of pleasing others with the sight of things which he, with perhaps unusual opportunities, was able to see, which his friends would otherwise not ever be able to.
Painting requires skill. Photography is created by the camera, and one cannot fully control what the camera sees. So people take many photographs because several must always be discarded.
An optimist is a person who sees only the lights in the picture, whereas a pessimist sees only the shadows. An idealist, however, is one who sees the light and the shadows, but in addition sees something else: the possibility of changing the picture, of making the lights prevail over the shadows.
When you have something special, it's like everybody picks apart words. They'll pick apart a moment in a picture and take something that's special and trash it.
Time, which is so often an enemy in life, can also become our ally if we see how a pale moment can lead to a glowing moment, and then turn to a moment of perfect transparency, before dropping again to a moment of everyday simplicity.
You see what you understand, You have to be prepared to see the world. The moment of clicking the camera is almost irrelevant. What is really important is what happens before and after you take the picture.
Back in the day, I actually studied photography in Florence for a few months, and my photography teacher took away my digital camera and said, 'No, use this - it's analog and it's square.' It was a Holga camera, a very cheap $3 or $4 plastic camera. And that's what inspired 'Instagram'.
Perhaps everything lies in knowing what words to speak, what actions to perform, and in what order and rhythm; or else someone's gaze, answer, gesture is enough; it is enough for someone to do something for the sheer pleasure of doing it, and for his pleasure to become the pleasure of others: at that moment, all spaces change, all heights, distances; the city is transfigured, becomes crystalline, transparent as a dragonfly.
There's a moment in every romantic comedy when a person sees something in someone else that nobody else sees.
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