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.
What is drawing? It is working oneself through an invisible iron wall that seems to stand between what one feels and what one can do.
As far as I was concerned, it was the absence of women in the poetic tradition which allowed women in the poems to be simplified. The voice of a woman poet would, I was sure, have precluded such distortion. It did not exist.
The sole art that suits me is that which, rising from unrest, tends toward serenity.
There's this inherent screenplay structure that everyone seems to be stuck on, this three-act thing. It doesn't really interest me. To me, it's kind of like saying, 'Well, when you do a painting, you always need to have sky here, the person here and the ground here.' Well, you don't.
Comics are expensive. Don’t make me resent the money I spend buying yours. Every single moment in your script must either move the story along or demonstrate something important about the characters — preferably both — and every panel that does neither is a sloppy waste of space.
It is only by drawing often, drawing everything, drawing incessantly, that one fine day you discover to your surprise that you have rendered something in its true character.
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