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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
Always
Photographer
Thinking
Aware
Photography
Sort
Stuff
Happens
Best
Even
Shooting

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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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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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If you don't have a camera, the best thing you can do is describe how great it looked.
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First, perseverance trumps talent. Second, do what you want to do, otherwise why bother? Third, be ethical it might rub off on others. Fourth, don't give up.
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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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Forget what it was. Look at what it is.
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If you can capture the element of surprise, you're way ahead of the game.
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I don't see light as something that falls, but as a positive force.
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The awareness of the quality of space in out photos is akin to our awareness of the very air in our photos, the atmosphere that pervades every square inch of our image and yet is often invisible to the photographer.
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Be aware of every square millimeter of your frame.
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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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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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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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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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If you're not shooting in the right direction, it doesn't matter how well you're shooting.
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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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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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We don't experience light, color, and gesture in a vacuum. We experience it in contexts.
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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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