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Two factors thus emerge as requisites of success in the field of creative photography. First, the subject must be photogenic. Second, its re-creation in a photograph must be based upon technical knowledge, guided and supported by artsitic inspiration.

Andreas Feininger

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Andreas Feininger
Age: 92 †
Born: 1906
Born: January 1
Died: 1999
Died: January 1
Architect
Painter
Photographer
Paris
France
Andreas B. L. Feininger
Andreas Bernhard Lyonel Feininger
Andreas Bernhad Lyonel Feiniger
Andreas Feiniger
Creative
Subject
Guided
Knowledge
Photography
Emerge
Upon
Based
Supported
Success
Fields
Technical
Two
Subjects
Factors
Firsts
Creation
Photograph
First
Second
Field
Requisites
Must
Inspiration
Thus
Photogenic

More quotes by Andreas Feininger

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Human vision is untrustworthy, subjective and selective. Camera vision is total and non - objective.
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Experience has shown that the more fascinating the subject, the less observant the photographer.
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What matters is not what you photograph, but why and how you photograph it. Even the most controversial subject, if depicted by a sensitive photographer with honesty, sympathy, and understanding, can be transformed into an emotionally rewarding experience.
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It's nothing but a matter of seeing, thinking, and interest. That's what makes a good photograph. And then rejecting anything that would be bad for the picture. The wrong light, the wrong background, time and so on. Just don't do it, not matter how beautiful the subject is.
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Before you shoot an irresistible subject, mute all your senses except sight to find out how much is left for the camera to record.
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Photographers - idiots, of which there are so many - say, Oh, if only I had a Nikon or a Leica, I could make great photographs. That's the dumbest thing I ever heard in my life. It's nothing but a matter of seeing, and thinking, and interest.
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The photographer has almost as much control over his subject matter as a painter. He can control light and shade, form and space, pattern and texture, motion and mood, everything except composition.
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Unless a subject interests me, I'll pass it over and save my film for better things.
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A technically perfect photograph can be the world's most boring picture.
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Any good photograph is a successful synthesis of technique and art.
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Don't look for depth but instead search for subject aspects which prove the presence of depth.
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And yet, in a superficial sense, it is true that the camera does not lie: given a chance, it will faithfully render everything within the field of view of the lens and show it precisely as it is.
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With a short lens I can reveal the hidden things near at hand, with a long lens the hidden things far away. The telephoto lens provides a new visual sensation for people: it widens their horizons. And, conversely, the things under our nose invariably look good when blown up really big.
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A photographer who does not know how to translate his feelings and ideas into a graphically satisfactory form is bound to produce ineffective photographs, no matter how idealistic, compassionate, sensitive or imaginative he may be. For in order to be considered good, a photograph must not only say something worthwhile, it must say it well.
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Every successful photograph, except for lucky shots, begins with an idea and a plan. The more precisely a photographer knows what it is he wishes to do, the better the chances are that he will do it.
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No one can do inspired work without genuine interest in his subject and understanding of its characteristics.
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Realism and superrealism are what I'm after. This world is full of things the eye doesn't see. The camera can see more, and often 10 times better.
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The difference in 'seeing' between the eye and the lens should make it obvious that a photographer who merely points his camera at an appealing subject and expects to get an appealing picture in return, may be headed for a disappointment.
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Know - how is worthless unless guided by know - why and know - when.
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(1) The more thoroughly a photographer explores his subject with the camera (i.e., the more pictures he makes), the more he sees and the better his chance of getting good results. (2) Even slight changes in subject approach can make significant differences in the effect of the picture.
Andreas Feininger