Quote

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

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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
Something
Form
Sensitive
Satisfactory
Good
Doe
Bounds
Idealistic
May
Considered
Imaginative
Ideas
Photographer
Photographs
Wells
Photograph
Translate
Well
Produce
Compassionate
Matter
Feelings
Worthwhile
Graphically
Must
Order
Bound
Ineffective

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Know - how is worthless unless guided by know - why and know - when.
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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.
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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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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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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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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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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.
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The first impression of a new subject is not necessary the best. Seen from a different angle or under different condition it might look even better. Always study a three - dimensional subject with one eye closed.
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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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No one can do inspired work without genuine interest in his subject and understanding of its characteristics.
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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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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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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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Don't look for depth but instead search for subject aspects which prove the presence of depth.
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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.
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Experience has shown that the more fascinating the subject, the less observant the photographer.
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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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As an amateur you have an advantage over photographers - you can do as you wish... This should make amateurs the happiest of photographers.
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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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