Those who achieve happiness understand the basic fact that regardless of how much fun you're having or how many things you accomplish, life through the lens of history is incredibly short.
I start with no preconceived idea - discovery excites me to focus - then rediscovery through the lens - final form of presentation seen on ground glass, the finished print previsioned completely in every detail of texture, movement, proportion, before exposure - the shutter's release automatically and finally fixes my conception, allowing no after manipulation - the ultimate end, the print, is but a duplication of all that I saw and felt through my camera.
My first priority when taking pictures is to achieve clarity. A good documentary photograph transmits the information of the situation with the utmost fidelity; achieving it means understanding the nuances of lighting and composition, and also remembering to keep the lenses clean and the cameras steady.
Give half a dozen men the same camera, lenses and plates, and send them to the same place to do the same thing, and all the results will be alike, or so nearly alike as to reveal the real mechanicalness of photography. Yet, curiously enough, this is just one of the most difficult things a photographer can be set to do, to exactly repeat himself, or another. He may use the identical apparatus, know the subject perfectly, and yet be totally unable to bring away an exact replica.
The fact is that relatively few photographers ever master their medium. Instead they allow the medium to master them and go on an endless squirrel cage chase from new lens to new paper to new developer to new gadget, never staying with one piece of equipment long enough to learn its full capacities, becoming lost in a maze of technical information that is of little or no use since they don't know what to do with it.
I want the stark beauty that a lens can so exactly render presented without interference of artistic effect.
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 way Americans most understand the history of Latinos in this country, a lot of it is being told now through the lens of what's happening with the immigration debate. While that's an important debate that has security and moral implications, in my view, there's also a huge history of Latinos in the United States that's never been told.
The youthful sparkle in Ronald Reagan's eyes is caused by his contact lenses, which he keeps highly polished.
Cameras and lenses are simply tools to place our unique vision on film. Concentrate on equipment and you'll take technically good photographs. Concentrate on seeing the light's magic colors and your images will stir the soul.
People see America through particular lenses, either their profession, their race or their gender. So the party that speaks to our racial perceptions and offers solutions to the racial difficulties which we face is the party that's going to be rewarded with our votes.
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.
Humor is about perspective, and hanging out with people who see life through a similar lens is so important.
I don't see anybody as either ordinary or extraordinary. I see them simply as people in front of my lens.
I am not a scientist. I have never analyzed the far reaches of the solar system through the lens of a telescope nor scrutinized cancer cells under a microscope.
A self is a frightening thing to waste, it's the lens through which one's whole life is viewed, and few people are willing to part with it, in death, or even imaginatively, in art.
When tradition is thought to state the way things really are, it becomes the director and judge of our lives; we are, in effect, imprisoned by it. On the other hand, tradition can be understood as a pointer to that which is beyond tradition: the sacred. Then it functions not as a prison but as a lens.
I know of few actresses who have this incredible talent for communicating with a camera lens. She would try to seduce a camera as if it were a human being.
I looked through a lens and ended up abandoning everything else.
The person one loves never really exists, but is a projection focused through the lens of the mind onto whatever screen it fits with least distortion.
You can tell a good ruined lens, right from the get-go.... That’s the kind of lens I'm looking for.
Photography concentrates one's eye on the superficial. For that reason it obscures the hidden life which glimmers through the outlines of things like a play of light and shade. One can't catch that even with the sharpest lens.
The heart sags. My footprints forget me. I don’t think anything will ever be the same. This is the edge of the cliff and you can’t move, can’t jump. Everything is vertical. With binoculars you can see where you’ll be in an hour. Raindrops collect on the lens. A fine mist. It hides us. It drifts into clocks. Gravity presses your hands. Some hurts never get said. Some get smuggled.
My approach to photograph is kept simple, almost routine. All work, good and bad, is documented. I use standard film, a standard lens and no filters. Each work grows, strays, decays-integral parts of a cycle which the photograph shows at its height, marking the moment when the work is most alive. There is an intensity about a work at its peak that I hope is expresses in the image. Process and decay are implicit.
I had never really thought of myself as a writer; any writing I had done was just to give myself something to draw.
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