Look and think before opening the shutter. The heart and mind are the true lens of the camera.
Sometimes I do get to places just when God's ready to have somebody click the shutter.
I watch the springs, the summers, the autumns; And when comes the winter snow monotonous, I shut all the doors and shutters To build in the night my fairy palace.
When that shutter clicks, anything else that can be done afterward is not worth consideration.
I am a camera with its shutter open, quite passive, recording, not thinking.
It's the loneliest feeling in the world-to find yourself standing up when everybody else is sitting down. To have everybody look at you and say, 'What's the matter with him?' I know. I know what it feels like. Walking down an empty street, listening to the sound of your own footsteps. Shutters closed, blinds drawn, doors locked against you. And you aren't sure whether you're walking toward something, or if you're just walking away.
When the photographer Philippe Halsman said, 'Jump,' no one asked how high. People simply pushed off or leapt up to the extent that physical ability and personal decorum allowed. In that airborne instant Mr. Halsman clicked the shutter. He called his method jumpology. The idea of having people jump for the camera can seem like a gimmick, but it is telling that jumpology shares a few syllables with psychology. As Halsman, who died in 1979, said, 'When you ask a person to jump, his attention is mostly directed toward the act of jumping, and the mask falls, so that the real person appears.'
Never boss people around. It's more important to click with people than to click the shutter.
It's a lot more than clicking the shutter...it's the ideas, it's the visual voice, it's the telling the story, it's kind of going beyond that initial thing that just means you happened to be there at the right time.
Tea - the cups that cheer but not inebriate.
When hopes and dreams are loose in the streets, it is well for the timid to lock doors, shutter windows and lie low until the wrath has passed.
Photographs are like our children. We put the best of ourselves into them - the best of our vision, our minds, our hearts - and then we send them out into the world. At some moment, perhaps the moment we click the shutter, they are being released. From that moment on, they don't really belong to us anymore.
How it pours, pours, pours, In a never-ending sheet! How it drives beneath the doors! How it soaks the passer's feet! How it rattles on the shutter! How it rumples up the lawn! How 'twill sigh, and moan, and mutter, From darkness until dawn.
The TV camera has no shutter. It does not deal with aspects or facets of objects in high resolution. It is a means of direct pick-up by the electrical groping over surfaces.
The most important thing... is not clicking the shutter... it is clicking with the subject.
I don't have a bad relationship. I'm 48 years old. I think life is too short for that. To me, life is... you open the shutters, you see the dogs outside, you look left, you look right, in, what, a second and a half? And that's a life.
My theory of composition? Simple: do not release the shutter until everything in the viewfinder feels just right.
We are poor, indeed, when we have no half-wishes left us. The heart and the imagination close the shutters the instant they are gone.
When Satan cannot get a great sin in he will let a little one in, like the thief who goes and finds shutters all coated with iron and bolted inside. At last he sees a little window in a chamber. He cannot get in, so he puts a little boy in, that he may go round and open the back door. So the devil has always his little sins to carry about with him to go and open back doors for him, and we let one in and say, 'O, it is only a little one.' Yes, but how that little one becomes the ruin of the entire man!
Love Is a curious thing. Sometimes it barrels into you, leaves you breathless. Other times, it comes in- to your life, a tentative beam of morning sun sneaking through the blinds, and you think this light isn't possible. The shutters are drawn. Night should linger on. I don't feel like waking. Yet the room comes slowly lit. Sleep slithers away, and at last you can no longer deny the dawning.
If you see something you have seen before, don't click the shutter.
I keep the shutters closed because I like to work in a hermetic environment. I like mirrors. When you look out of the window, all you see is ugliness, but when you look in the mirror all you see is beauty.
People in America, of course, live in all sorts of fashions, because they are foreigners, or unlucky, or depraved, or without ambition; people live like that, but Americans live in white detached houses with green shutters. Rigidly, blindly, the dream takes precedence.
If you found yourself in a situation where you could either save a drowning man, or you could take a Pulitzer prize winning photograph of him drowning, what shutter speed and setting would you use?
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.
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