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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.

Jay Maisel

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Jay Maisel
Age: 93
Born: 1931
Born: January 18
Photographer
Brooklyn
New York
Photographer
Photography
Aren
Home
Come
Thing
Successes
Things
Failures
Magnificent

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You can't just turn on when something happens, you have to be turned on all the time. Then things happen.
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Forget what it was. Look at what it is.
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You must be open to what otherwise may seem to be a detriment to your 'plans'.
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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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I'm a New Yorker. I don't believe in air unless I can see it.
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There are rules about perception, but not about photography.
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It's not just when you shoot, or what you shot, or where you shoot, it's the combination of the three.
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You always end up with too many pictures to edit and too few that you feel 'got it'.
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You cannot accurately remember color.
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Gesture is not always action.
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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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... 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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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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Money and fame that photography can bring you are wonderful, but nothing can compare to the joy of seeing something new.
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Some have said that if you take a great picture in color and take away the color, you'll have a great black-and-white picture. But if you're shooting something about color and you take away the color, you'll have nothing.
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Color really doesn't have interaction if it's full of colors. It's the interaction or relationship among or between colors that makes a color image. This usually happens with a few colors, not a glut of them.
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Keep your mind open. You may very well learn something new about yourself and your pictures.
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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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Gesture will survive whatever kind of light you have. Gesture can triumph over anything because of its narrative content.
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