Never boss people around. It's more important to click with people than to click the shutter.
Alfred EisenstaedtRead
Today's photographers think differently. Many can't see real light anymore. They think only in terms of strobe - sure, it all looks beautiful but it's not really seeing. If you have the eyes to see it, the nuances of light are already there on the subject's face. If your thinking is confined to strobe light sources, your palette becomes very mean - which is the reason I photograph only in available light.
Interpretation
The quote emphasizes the importance of recognizing and utilizing natural light in photography rather than relying solely on artificial lighting sources.
Alfred Eisenstaedt highlights the distinction between photographers who rely heavily on artificial lighting and those who appreciate the subtleties of natural light. He advocates for the latter approach, suggesting that true artistry in photography comes from capturing the nuances of light that exist naturally on the subject, leading to a richer and more authentic portrayal.
In practice
A photography workshop on understanding natural light in outdoor settings.
Never boss people around. It's more important to click with people than to click the shutter.
I dream that someday the step between my mind and my finger will no longer be needed. And that simply by blinking my eyes, I shall make pictures. Then, I think, I shall really have become a photographer.
Retire? Retire from What? Life? I will only retire when I am dead!
I always prefer photographing in available light β or Rembrandt-light I like to call it β so you get the natural modulations of the face. It makes a more alive, real, and flattering portrait.
People will never understand the patience a photographer requires to make a great photograph, all they see is the end result. I can stand in front of a leaf with a dew drop, or a rain drop, and stay there for ages just waiting for the right moment. Sure, people think I'm crazy, but who cares? I see more than they do!
Yes, I sold buttons to earn living. But I took pictures to keep on living. Pictures are my life β as necessary as eating or breathing.
Meanwhile, let us have a sip of tea. The afternoon glow is brightening the bamboos, the fountains are bubbling with delight, the soughing of the pines is heard in our kettle. Let us dream of evanescence, and linger in the beautiful foolishness of things.
In photography there is a reality so subtle that it becomes more real than reality.
I think that at a certain age, say fifteen or sixteen, poetry is like masturbation. But later in life good poets burn their early poetry, and bad poets publish it. Thankfully I gave up rather quickly.
Since the beginning of the 20th century, the public's relationship to art has been weakened by a profound institutional reluctance to address the question of what art is for. This is a question that has, quite unfairly, come to feel impatient, illegitimate, and a little impudent.
As a songwriter, if you can touch people and make them feel a little less alone in the world, then you've done your job.
When a critic sets himself up as an arbiter of morality, a judge of the matter and not the manner of a work, he is no longer a critic; he is a censor.
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