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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.

Jay Maisel

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Jay Maisel
Age: 93
Born: 1931
Born: January 18
Photographer
Brooklyn
New York
Thinking
Aware
Photography
Sort
Stuff
Happens
Best
Even
Shooting
Always
Photographer

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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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As people, we love pattern. But interrupted pattern is more interesting.
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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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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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If you're not shooting in the right direction, it doesn't matter how well you're shooting.
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Try to go out empty and let your images fill you up.
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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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We don't experience light, color, and gesture in a vacuum. We experience it in contexts.
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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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There is no bad light. There is spectacular light and difficult light. It's up to you to use the light you have.
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Gesture is not always action.
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I don't see light as something that falls, but as a positive force.
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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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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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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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When we are given gifts, we must be quick and able to accept them.
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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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If you can capture the element of surprise, you're way ahead of the game.
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