It is an illusion that photos are made with the camera... they are made with the eye, heart and head.
Photography is, for me, a spontaneous impulse coming from an ever attentive eye which captures the moment and its eternity.
One eye of the photographer looks wide open through the viewfinder, the other, the closed looks into his own soul.
To take photographs means to recognize - simultaneously and within a fraction of a second - both the fact itself and the rigorous organization of visually perceived forms that give it meaning. It is putting one's head, one's eye and one's heart on the same axis.
There is a creative fraction of a second when you are taking a picture. Your eye must see a composition or an expression that life itself offers you, and you must know with intuition when to click the camera. That is the moment the photographer is creative. Oop! The Moment! Once you miss it, it is gone forever.
Your eye must see a composition or an expression that life itself offers you, and you must know with intuition when to click the camera.
To take photographs is putting one's head, one's eye, and one's heart on the same axis
To photograph: it is to put on the same line of sight the head, the eye and the heart.
One eye looks within, the other eye looks without.
In whatever one does there must be a relationship between the eye and the heart.
Above all, I craved to seize the whole essence, in the confines of one single photograph, of some situation that was in the process of unrolling itself before my eyes.
I am a visual man. I watch, watch, watch. I understand things through my eyes.
With the one eye that is closed, one looks within, with the other eye that is open, one looks without.
To me, photography is the simultaneous recognition, in a fraction of a second, of the significance of an event as well as of a precise organization of forms which give that event its proper expression. And this organization, this precision, will always escape you, if you do not appreciate what a picture is, if you do not understand that the composition, the logic, the equilibrium of the surfaces and values are the only ways of giving meaning to all that is continuously appearing and vanishing before our very eyes.
Photography must seize upon this moment and hold immobile the equilibrium of it. The photographers eye is perpetually evaluating. A photographer can bring coincidence of line simply by moving his head a fraction of a millimeter. He can modify perspectives by a slight bending of the knees. By placing the camera closer to or farther from the subject, he draws a detail — and it can be subordinated, or he can be tyrannized by it.
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