The head of the photographer is more important than his camera
Philippe HalsmanRead
Of the thousands of people, celebrated and unknown, who have sat before my camera, I am often asked who was the most difficult subject, or the easiest, or which picture is my favorite. This last question is like asking a mother which child she likes the most
Interpretation
This quote reflects the deep emotional connection and subjectivity in a photographer's work, similar to a mother's bond with her children.
Philippe Halsman compares the difficulty of choosing a favorite photograph to a mother choosing her favorite child, highlighting the unique and intimate relationships he forms with each subject. Each individual, whether celebrated or unknown, contributes to the photographer's body of work in a distinct way, making it impossible to single out one as the best or most significant.
In practice
A photographer might use this quote in an interview to illustrate their emotional connection with subjects.
The head of the photographer is more important than his camera
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.
The word "photography" can be interpreted as "writing with light" or "drawing with light." Some photographers are producing beautiful photographs by drawing with light.. Some other photographers are trying to tell something with their photographs. They are writing with light.
I make the woman look at the camera as a symbol of all the eyes that will see the picture I am making.
I drifted into photography like one drifts into prostitution. First I did it to please myself, then I did it to please my friends, and eventually I did it for the money.
In a jump, the subject, in a sudden burst of energy, overcomes gravity. He cannot simultaneously control his expressions, his facial and his limb muscles. The mask falls. The real self becomes visible. One only has to snap it with the camera.
I'm a method writer. In order to write about the emotion, I have to experience it. I get physically tired and exhausted, devoting hours and hours and hours to it.
My fiction may, now and again, illuminate aspects of the human condition, but I do not consciously set out to do so: I am a storyteller.
By close-ups of the things around us, by focusing on hidden details of familiar objects, by exploring commonplace milieus under the ingenious guidance of the camera, the film, on the one hand, extends our comprehension of the necessities which rule our lives; on the other hand, it manages to assure us of an immense and unexpected field of action.
I'd like to do a number of films. Westerns. Genre pieces. Maybe another film about Italian Americans where they're not gangsters, just to prove that not all Italians are gangsters.
From my perspective, I'm trying to stand for a generation. You know, each generation has designers who go along with it.
We used the Western style to express our own themes and stories. But don't forget that our heritage includes The Thousand and One Nights.
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