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Be aware of every square millimeter of your frame.

Jay Maisel

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Jay Maisel
Age: 93
Born: 1931
Born: January 18
Photographer
Brooklyn
New York
Aware
Photography
Every
Millimeter
Square
Frame
Squares
Photographer

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All these factors are only valuable if you're curious. But in any case, the more knowledge you have, the more things are open and available to you.
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Remember that most people (those who are not photographers) don't even see the things that you missed. Many don't even look. Ergo, you are way ahead of the game.
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When you shoot, that is opportunity number one to make a statement. When you edit, you have opportunity number two to make your statement. It could be an affirmation of your first choice or could go off in another direction.
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The drama of light exists not only in what is in the light, but also in what is left dark. If the light is everywhere, the drama is gone.
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Failing is not a problem. Not trying is a problem.
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You must be open to what otherwise may seem to be a detriment to your 'plans'.
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You cannot accurately remember color.
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Every picture should have a place you can go, a home, a climax.
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Color is seductive. It changes as it interacts with other colors, it changes because of the light falling upon it, and it changes as it becomes larger in size.
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You sort of have to be always aware, even when you're not thinking of shooting. That's when the best stuff happens.
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If you want to make more interesting pictures, become a more interesting person.
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There really isn't anything that you could call 'bad' color. It all has to do with the amount of color you use and in what context it appears.
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We don't experience light, color, and gesture in a vacuum. We experience it in contexts.
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Forget what it was. Look at what it is.
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There is no one solution to all problems. It's the problem itself that can lead to the solution.
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As people, we love pattern. But interrupted pattern is more interesting.
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You have to have a lot of 'overage' so that your failures aren't the only thing you come home with. You've got to have a lot of things that were magnificent failures, but you want some magnificent successes.
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Since the background is as important as the subject, you mustn't let it default by chance. You must control not only vertical and horizontal, you must be aware of the depth of field (or lack of it) that you want in the background.
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... there's one of the great lies of all times, that computers save time. They don't. They're time suckers. So, I'm trying not to get involved in the Photoshop.
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Sometimes as you work, you find that you are learning things about your own perceptions and motivations that are way below you consciousness. If you get lucky, you recognize what you are doing, but all too often we don't find the connection between our work and our own motivations.
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