A Quote by Harry Benson

A good photograph is one that can't be repeated. — © Harry Benson
A good photograph is one that can't be repeated.
What the Photograph reproduces to infinity has occurred only once: the Photograph mechanically repeats what could never be repeated existentially.
This is a photograph, so it is as you see: there are no lies and no deceptions. One can detect here, elevated to an incomparably higher level, the same pathetic emotional appeal that lies concealed in every fake spiritualist photograph, every pornographic photograph; one comes to suspect that the strange, disturbing emotional appeal of the photographic art consists solely in that same repeated refrain: this is a true ghost... this is a photograph, so it is as you see: there are no lies, no deceptions.
I probably get a deeper satisfaction of having taken a very good photograph than of having written something very good, a very good story. Maybe it's because the element of magic is so present in a good photograph - luck and magic, but also hard work and being ready and all that.
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.
The good photograph is not the object, the consequences of the photograph are the objects.
When you photograph people in color you photograph their clothes. When you photograph people in black and white, you photograph their soul!
I do not photograph for ulterior purposes. I photograph for the thing itself - for the photograph - without consideration of how it may be used.
There is one thing the photograph must contain, the humanity of the moment. This kind of photography is realism. But realism is not enough - there has to be vision, and the two together can make a good photograph.
What if I said that every photograph I made was set up? From the photograph, you can't prove otherwise. You don't know anything from the photograph about how it was made, really.
One of the things my career as an artist might say to young artists is: The things that are close to you are the things you can photograph the best. And unless you photograph what you love, you are not going to make good art.
Someone said to me, early on in film school... if you can photograph the human face you can photograph anything, because that is the most difficult and most interesting thing to photograph.
It's just that if you're not disruptive everything seems to be repeated endlessly - not so much the good things but the bland things - the ordinary things - the weaker things get repeated- the stronger things get suppressed and held down and hidden.
The model is just one element of the photograph. There's also the location, the light - all that junk. It helps if the girl is really good-looking, but a girl can be not super good-looking and it'd still be a really good photograph. I ask people to send some photos of where they live if that's where I'm shooting. I go for shabby places over too-nice places, because most of these girls are going to look better if they're not made to look rich.
To go and photograph an airbase is not only to photograph something but it is to insist on one’s right to photograph. You’re flexing that right.
Not every good idea survives. Not every new form of art is repeated. Not every new potential instinct is successful. Only the successful ones get repeated. By natural selection and then through repetition they become probable, more habitual.
No one can really explain in a rational way what makes a good photograph or a bad photograph... This is why the art world will not throw billions of dollars at photography the way it has at painting; and that is what makes it an exciting medium.
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