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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.

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
Everything
Subject
Composition
Matter
Except
Pattern
Much
Subjects
Shade
Control
Motion
Almost
Painter
Space
Mood
Form
Photographer
Light
Patterns
Texture

More quotes by Andreas Feininger

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A technically perfect photograph can be the world's most boring picture.
Andreas Feininger
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No one can do inspired work without genuine interest in his subject and understanding of its characteristics.
Andreas Feininger
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Light is the photographic medium par excellence it is to the photographer what words are to the writer color and paint to the painter wood, metal, stone, or clay to the sculptor.
Andreas Feininger
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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.
Andreas Feininger
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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.
Andreas Feininger
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Any good photograph is a successful synthesis of technique and art.
Andreas Feininger
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As an amateur you have an advantage over photographers - you can do as you wish... This should make amateurs the happiest of photographers.
Andreas Feininger
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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.
Andreas Feininger
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Human vision is untrustworthy, subjective and selective. Camera vision is total and non - objective.
Andreas Feininger
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Don't look for depth but instead search for subject aspects which prove the presence of depth.
Andreas Feininger
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Unless a subject interests me, I'll pass it over and save my film for better things.
Andreas Feininger
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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
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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.
Andreas Feininger
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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.
Andreas Feininger
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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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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.
Andreas Feininger
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Know - how is worthless unless guided by know - why and know - when.
Andreas Feininger
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Experience has shown that the more fascinating the subject, the less observant the photographer.
Andreas Feininger
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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.
Andreas Feininger
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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.
Andreas Feininger