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Photographers who come up with power never get accused of imitating anyone else even though they photograph the same broom, same street, same portraits.

Minor White

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Minor White
Age: 67 †
Born: 1908
Born: July 9
Died: 1976
Died: June 24
Photographer
University Teacher
Minneapolis
Minnesota
Minor Martin White
Streets
Brooms
Anyone
Imitating
Though
Photographers
Else
Portraits
Power
Accused
Come
Photographer
Even
Photograph
Never
Street
Broom

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I have often photographed when I am not in tune with nature but the photographs look as if I had been. So I conclude that something in nature says, 'Come and take my photograph.' So I do, regardless of how I feel.
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If I have anything to give you through camera, it must be of myself. … A gnawing burns inside … to make something of myself worth giving.
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Reaching a 'creative' state of mind thru positive action is considered preferable to waiting for 'inspiration'.
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There's no particular class of photograph that I think is any better than any other class. I'm always and forever looking for the image that has spirit! I don't give a damn how it got made.
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Sometimes we work so fast that we don't really understand what's going on in front of the camera. We just kind of sense that, 'Oh my God, it's significant!' and photograph impulsively while trying to get the exposure right. Exposure occupies my mind while intuition frames the images.
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Students were taught by doing.
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When I looked at things for what they are I was fool enough to persist in my folly and found that each photograph was a mirror of my Self.
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We could teach photography as a way to make a living, and best of all, somehow to get students to experience for themselves photography as a way of life.
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One should not only photograph things for what they are but for what else they are.
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Let the subject generate its own photographs. Become a camera.
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A very receptive state of mind... not unlike a sheet of film itself - seemingly inert, yet so sensitive that a fraction of a second's exposure conceives a life in it.
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I'm always mentally photographing everything as practice.
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In putting images together I become active, and excitement is of another order - synthesis overshadows analysis.
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To engage a sequence, we keep in mind the photographs on either side of the one in our eye.
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It is curious that I always want to group things, a series of sonnets, a series of photographs whatever rationalizations appear, they originate in urges that are rarely satisfied with single images.
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Be still with yourself until the object of your attention affirms your presence.
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At first glance a photograph can inform us. At second glance it can reach us.
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When gifts are given to me through my camera, I accept them graciously.
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The photographer projects himself into everything he sees, identifying himself with everything in order to know it and to feel it better.
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When I look at pictures I have made, I have forgotten what I saw in front of the camera and respond only to what I am seeing in the photographs.
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