A Quote by Henri Cartier-Bresson
A photographer must always work with the greatest respect for his subject and in terms of his own point of view.
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It is essential for the photographer to know the effect of his lenses. The lens is his eye, and it makes or ruins his pictures. A feeling for composition is a great asset. I think it is very much a matter of instinct. It can perhaps be developed, but I doubt if it can be learned. To achieve his best work, the young photographer must discover what really excites him visually. He must discover his own world.
The good photographer will produce a competent picture every time whatever his subject. But only when his subject makes and immediate and direct appeal to his own interests will he produce a work of distinction.
Good work is no done by "humble" men. It is one of the first duties of a professor, for example, in any subject, to exaggerate a little both the importance of his subject and his own importance in it. A man who is always asking "Is what I do worth while?" and "Am I the right person to do it?" will always be ineffective himself and a discouragement to others. He must shut his eyes a little and think a little more of his subject and himself than they deserve. This is not too difficult: it is harder not to make his subject and himself ridiculous by shutting his eyes too tightly.
A photographer is a witness. He has a moral duty. Every picture must be true and honest. I believe a photographer's strength is his ability to accurately record reality. There are photographers who think they are lucky if they find unusual or special subject. But it is never the subject that is so marvelous. It is how alive and real the photographer can make it.
In common with other artists the photographer wants his finished print to convey to others his own response to his subject. In the fulfillment of this aim, his greatest asset is the directness of the process he employs. But this advantage can only be retained if he simplifies his equipment and technic to the minimum necessary, and keeps his approach from from all formula, art-dogma, rules and taboos. Only then can he be free to put his photographic sight to use in discovering and revealing the nature of the world he lives in.
One view of photography is that it is a zen-like act which captures reality with its pants down - so that the vital click shows the anatomy bare. In this, the photographer is invisible but essential. A computer releasing the shutter would always miss the special moment that the human sensibility can register. For this work, the photographer's instinct is his aid, his personality a hindrance.
The hardest thing over the years has been having the courage to go against the dominant wisdom of the time to have a view that is at variance with the present consensus and bet that view. The hard part is that the investor must measure himself not by his own perceptions of his performance, but by the objective measure of the market. The market has its own reality. In an immediate emotional sense the market is always right so if you take a variant point of view you will always be bombarded for some time by conventional wisdom as expressed by the market.
The whole world, from the least to the greatest, must know the truth, so that man may understand the great laws that govern his life. He must learn to control his own destiny, to heal his own body and bring happiness to his own soul.
The writer needs to react to his or her own internal universe, to his or her own point of view. If he or she doesn't have a personal point of view, it's impossible to be a creator.
An artist must first of all respond to his subject, he must be filled with emotion toward that subject and then he must make his technique so sincere, so translucent that it may be forgotten, the value of the subject shining through it.
The child begins life as a pleasure-seeking animal; his infantile personality is organized around his own appetites and his own body. In the course of his rearing the goal of exclusive pleasure seeking must be modified drastically, the fundamental urges must be subject to the dictates of conscience and society, urges must be capable of postponement and in some instances of renunciation completely.
The photographer's most important and likewise most difficult task is not learning to manage his camera, or to develop, or to print. It is learning to see photographically — that is, learning to see his subject matter in terms of the capacities of his tools and processes, so that he can instantaneously translate the elements and values in a scene before him into the photograph he wants to make.
To teach effectively a teacher must develop a feeling for his subject; he cannot make his students sense its vitality if he does not sense it himself. He cannot share his enthusiasm when he has no enthusiasm to share. How he makes his point may be as important as the point he makes; he must personally feel it to be important.
In order for a man to really understand himself he must be part of a nation; he must have some land of his own, a God of his own, a language of his own. Most of all he must have love and devotion for his own kind.
From a human point of view, the difference between the mind of a human and that of a mountain goat is wonderful; from the point of view of the infinite ignorance that surrounds us, the difference is not impressive. Indeed, from that point of view, the goat may have the better mind, for he is more congenially adapted to his place, and he would not endanger his species or his planet for the sake of an idea.
Certain mystical philosophers have personified Destiny, and from this point of view each man's personal destiny is his archetype or "other self"--his "angel"--with whom he must be reunited if he is to rise above his fragmentary identity as a worldling and become whole, as he is (and always has been) in the mind of God.
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