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If you're not shooting in the right direction, it doesn't matter how well you're shooting.

Jay Maisel

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Jay Maisel
Age: 93
Born: 1931
Born: January 18
Photographer
Brooklyn
New York
Photography
Doesn
Wells
Well
Matter
Right
Shooting
Direction

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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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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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You cannot accurately remember color.
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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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Forget what it was. Look at what it is.
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Keep your mind open. You may very well learn something new about yourself and your pictures.
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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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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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One color alone means nothing. I acts as in a vacuum, with no other colors to relate to. It is only when colors relate to other colors that the fun begins.
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I'm a New Yorker. I don't believe in air unless I can see it.
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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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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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You have to learn not only from your failures. You must also learn from your successes.
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I don't see light as something that falls, but as a positive force.
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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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Had I not been told to look, I would have quite, ignorant of what was really there, because I had 'made plans' and was wearing visual and emotional blinders that limited my perceptions and my vision.
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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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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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... 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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If you are out there shooting, things will happen for you. If you're not out there, you'll only hear about it.
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