Agee, James Rufus
Allard, William Albert
Andersen, Thomas Folke
Anderson, Margaret C.
Asif, Usman B.
Auden, Wystan Hugh
The moment always dictates in my work. What I feel, I do. This is the most important thing for me. Everybody can look, but they don't necessarily see. I never calculate or consider; I see a situation and I know that it's right, even if I have to go back to get the proper lighting.
The photographer projects himself into everything he sees, identifying himself with everything in order to know it and to feel it better.
, On Photography by Susan Sontag , ISBN: 0385267061 , Page: 116
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If you use film you can't see it, so you need to feel it.
It is only with the heart that one can see rightly,; what is essential is invisible to the eye.
Antoine de Saint-Exupéry
NARRATOR: Henry Luce always had a fascination with what he called "picture magic". To introduce his new magazine to the world, he wrote an essay which described the many powers of photography. "To see life. To see the world. To watch the faces of the poor, and the gestures of the proud. To see strange things. Machines, armies, multitudes, and shadows in the jungle. To see, and to take pleasure in seeing. To see and be instructed. To see and be amazed..."
This was directly from "American Photography: A Century of Images" off the following site: http://www.pbs.org/ktca/americanphotography/filmandmore/index.html It is the transcript of the video for teachers.
The photographer sees the world as a child sees the bits of glass in a kaleidoscope. If he has a camera with which he can secure these ever-changing combinations, he is then able to look on them again and again, and he has the further pleasure of pleasing others with the sight of things which he, with perhaps unusual opportunities, was able to see, which his friends would otherwise not ever be able to.
Frank Meadow Sutcliffe
Amateur Photographer 1899 [cited in: Creative Camera June 1972, p. 184]
Every part of the photographic image carries some information that contributes to its total statement; the viewer’s responsibility is to see, in the most literal way, everything that is there and respond to it. To put it another way, the statement the image makes – not just what it show you, but the mood, moral evaluation and casual connections it suggest – is built up from those details. A proper ‘reading’ of a photograph sees and responds to them consciously.
Howard S. Becker
Afterimage, May-June 1975 [cited in: Creative Camera October 1975, p. 329]
I like to think of photographing as a two way act of respect. Respect for the medium by letting it do what it does best, describe. And respect for the subject by describing it as it is. A photograph must be responsible to both. I photograph to see what things look like photographed.
If you can see, you can also take pictures. But learning to see may take a long time.
We all look but do we see?
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