Photography Nature Quotes

Say to yourself, I am perfect, the way I am. Say to yourself, I am beautiful the way I am. Say to yourself, those who do not accept me the way I am, do not deserve me in their life.

Watching is like nature photography: You don’t interfere with the wildlife.

Caution not spirit, let it roam wild; for in that natural state dance embraces divine frequency.

When you take pictures of nature with passion, nature poses for you more passionately!

Actually, it's nature itself that creates the most beautiful pictures, I'm only choosing the perspective.

The female brain itself is a highly intuitive emotion-processing machine, which when put to practice in the progress of the society, would do much more than any man can with all his analytical perspectives.

You only fix something, when it’s broken. And you - are far from broken.

A photograph of a woman crying tells me nothing about grief. Or a photograph of a woman ecstatic tells me nothing about ecstasy. What is the nature of these emotions? The problem with photography is that it only deals with appearances.

A society where feminine beauty is defined not by the human self on genuine intellectual and sentimental grounds, but by a computer software on the grounds of economic interest, is more dead than alive. It is a society of human bodies, not human beings.

To get the best view of life, you have to reach heights above the life.

A capitalist society requires a culture based on images. It needs to furnish vast amounts of entertainment in order to stimulate buying and anesthetise the injuries of class, race, and sex. And it needs to gather unlimited amounts of information, the better to exploit natural resources, increase productivity, keep order, make war, give jobs to bureaucrats. The camera's twin capacities, to subjectivise reality and to objectify it, ideally serve these needs as strengthen them. Cameras define reality in the two ways essential to the workings of an advanced industrial society: as a spectacle (for masses) and as an object of surveillance (for rulers). The production of images also furnishes a ruling ideology. Social change is replaced by a change in images. The freedom to consume a plurality of images and goods is equated with freedom itself. The narrowing of free political choice to free economic consumption requires the unlimited production and consumption of images.

The photographer is now charging real beasts, beleaguered and too rare to kill. Guns have metamorphosed into cameras in this earnest comedy, the ecology safari, because nature has ceased to be what it always had been - what people needed protection from. Now nature - tamed, endangered, mortal - needs to be protected from people. When we are afraid, we shoot. But when we are nostalgic, we take pictures.

Beauty is an illusion.

There is no closed figure in nature. Every shape participates with another. No one thing is independent of another, and one thing rhymes with another, and light gives them shape.

Transforming the visible into words, and words into images, we stumbled upon the four elements, and upon each others’ expression of Love, Joy, Suffering, Compassion, Curiosity, and most of all, Wonder towards the Forces of Nature. The poetry, photography, drawings, all, attempt to deeper explore the infinite game of Life… We invite you to do the same - dive into your Being and grow with us Inspired…

If you don’t capture the moments, it will be gone forever.

I have a hunch that our obsession with photography arises from an unspoken pessimism; it is our nature to believe the good things will not last. . . But photos provide a false sense of security> like our flawed memory, they are guaranteed to fade. . . . We take photographs in order to remember, but it is in the nature of a photograph to forget (pg 157)

Travel , photography and wilderness are my addictions.... And I'm happy with that...

The power of beauty is that it encapsulates all the bitter sweet elements and mirrors them back as a breathtaking masterpiece.

O my Courageous Sister! You have to become the beacon of hope for all women around you and then for the whole society.

So, what do you photograph?” I swallow my wine. “What?” “You know – city scapes, nature, portraits, candid shots...” Boobs. I photograph boobs. “Uhh... people?

There will never be a photograph of the Grand Canyon that can adequately describe its depth, breadth, and true beauty.

Transcend the terrestrial; surpass the celestial, from nature’s hands when you receive the sublime pleasures of dance.

Find the light of beauty even in the shadows of darkness.

Because penguins are so beloved, they are uniquely capable of teaching us about love for the natural world.

Penguins are living lessons in caring for the earth and its creatures, in all their beauty and vulnerability.

I've often thought about how all these different life forms occupy the same space as me during a given moment and how easy it can be to get so wrapped up in your own world you forget you're part of something larger and marvelous.

Throughout their lifetime, most women learn to be uncomfortable with their physical appearance. They create a mask of makeup that is intended to “fix” their “imperfections.” They identify so much with this mask they reject their true beauty. Feminine Transitions encourages women to remove their masks and love their true selves, completely.

Nature is a picture waiting to be taken.

Photography saved my life by opening my eyes to the beauty that surrounds me each and everyday. Life look much richer from behind the lens.

Listen my dear sister! You only fix something, when it’s broken. And you - are far from broken. Say to yourself, I am perfect, the way I am. Say to yourself, I am beautiful the way I am. Say to yourself, those who do not accept me the way I am, do not deserve me in their life.

The nature that is in the location of my films can be seen in my photography, and I want my films to become closer to my photography and more distant from storytelling. It is true that these are completely separate milieus, but in my opinion, the ideal situation for me is for these two areas - photography and cinema - to become closer to one another.

But I've always been a sucker for externals alone: the shape, the shine, what the surface suggests to my palm. So mechanically disinclined it's verging on criminal, I never understood the beauty of an object's workings until Linny sat my reluctant self down one day and showed me her camera. Within fifteen minutes, I had fallen hard for the whole gadgety, eyelike nature of the thing: a tiny piece of glass slowing, bending, organizing light - light - into your grandmother, the Grand Canyon, the begonia on the windowsill, the film keeping the image like a secret. Grandmother, canyon, begonia tucked neatly into the sleek black box, like bugs in a jar. My mind boggled.

A capitalist society requires a culture based on images. It needs to furnish vast amounts of entertainment in order to stimulate buying and anesthetize the injuries of class, race, and sex. And it needs to gather unlimited amounts of information, the better to exploit natural resources, increase productivity, keep order, make war, give jobs to bureaucrats.

Photographers are history makers, Every picture is a moment which gone forever and can't re shoot.

You, too, can observe the beauty of flowers and nature through the windows of your life if you are willing to open them.

What you will see are things that caught my eye and made me stop in my tracks to take a closer look.

I take same picture twice, First with my heart then camera.

Photographers are the history makers, because every picture is a moment which gone fore ever and can not be re shoot.” ― Biju Karakkonam Nature and Wild life Photographer

Life is brighter than we think and better as we are. We just have to open our eyes.

PHOTOGRAPHY is the best way, where you can SAVE your sweet PAST.

The weak are always going to be under the control of the powerful. It is this way in all of nature. Intelligence is knowing where you stand in this truth and finding a way into the powerful group without anyone noticing you're doing so.

Standing in the spotlight, surrounded by all my selves, each of them naked and vulnerable before your lens, I want to be split open and reminded of shame. I know that sounds selfish, but I’m allowed to be selfish ’cause we’re talking about photography. Do you honestly believe I don’t see it for what it actually is: Exploitative? Exploitation is the nature of the beast, whatever the hell that means.

We may never know what another person is thinking--never truly get into anyone else's head--but photography brings us as close as anything can. When the members of an audience at an art gallery look at a picture, they can step for a moment inside the mind of the artist. Like telepathy. Like time travel. At some future date, when people gaze at my photographs of the islands, they will see what I saw. They will stand where I stood, on this granite, surrounded by this ocean. Perhaps they will even feel some of the elation I have experienced here.

All technical refinements discourage me. Perfect photography, larger screens, hi-fi sound, all make it possible for mediocrities slavishly to reproduce nature; and this reproduction bores me. What interests me is the interpretation of life by an artist. The personality of the film maker interests me more than the copy of an object.

We travel with our thoughts to great lands.

Nature is beautiful in all its chaos. However, a nature photograph is beautiful only in the absence of chaos.

Adventure is how we express the urge to be wild. It’s a call to borderlands and edges.

We love them more than any other bird. And yet, they are among the most endangered family of birds in the world.

These penguins call us to a deeper resolve and commitment to do what we can on their behalf. If we cannot save penguins—cannot save what everybody loves—what can we save?

Watching is like nature photography: You don't interfere with the wildlife.

Penguins are one of the best antidotes for despair that I know. They are living lessons in caring for the planet and its creatures, in all their beauty and vulnerability.

It is hard to be miserable in the company of penguins. It’s hard not to feel happy in their presence. Susan calls this feeling “the penguin glow.

I could dial directory assistance, call the house, warn her. I won’t. Watching is like nature photography: You don’t interfere with the wildlife.

For me, Every day is Photography Day

Photography is especially good at enabling us to see the world from an animal’s point of view. It’s one of the reasons I love photography.

Only a Photographer can stop the time. Just by one click.

when you see her unspoiled beauty for the first time, you realize that's why you came this way afterall in the first place

When the unique beauty of nature, the photographer's amazing ability and the perfect light of the sun come together, a genius photo appears where art looks more real than the reality!

It doesn't matter whether you are an expert or a novice in photography. As long as the lense of your camera fucoses the "nature" as a subject, you will always capture the best picture.

I’m not sure, though, what “for later” means anymore. Something changed in the world. Not too long ago, it changed, and we know it. We don’t know how to explain it yet, but I think we all can feel it, somewhere deep in our gut or in our brain circuits. We feel time differently. No one has quite been able to capture what is happening or say why. Perhaps it’s just that we sense an absence of future, because the present has become too overwhelming, so the future has become unimaginable. And without future, time feels like only an accumulation. An accumulation of months, days, natural disasters, television series, terrorist attacks, divorces, mass migrations, birthdays, photographs, sunrises. We haven’t understood the exact way we are now experiencing time. And maybe the boy’s frustration at not knowing what to take a picture of, or how to frame and focus the things he sees as we all sit inside the car, driving across this strange, beautiful, dark country, is simply a sign of how our ways of documenting the world have fallen short. Perhaps if we found a new way to document it, we might begin to understand this new way we experience space and time. Novels and movies don’t quite capture it; journalism doesn’t; photography, dance, painting, and theater don’t; molecular biology and quantum physics certainly don’t either. We haven’t understood how space and time exist now, how we really experience them. And until we find a way to document them, we will not understand them.

I suppose you could say these images present a glimpse of the world around me during the last 5 years as well as moments in time for the creatures and nature sharing the same space as me.

Among the things she said: "Women seem to possess all the natural gifts essential to a good portraitist ... such as personality, patience and intuition. The sitter ought to be the predominating factor in a successful portrait. Men portraitist are apt to forget this; they are inclined to lose the sitter in a maze of technique luxuriating in the cleverness and beauty of their own medium.

But so far as the pleasure was concerned, I was naturally not conscious of it until some time later, when, back at the hotel, and in my room alone, I had become myself again. Pleasure in this respect is like photography. What we take, in the presence of the beloved object, is merely a negative, which we develop later, when we are back at home, and have once again found at our disposal that inner dark-room the entrance to which is barred to us so long as we are with other people.

As a photographer, I understand the natural curiosity to know the technical side of how an image was made, but it’s important to remember–cameras and equipment do not make art–artists do. Allow the images to move you without considering external factors.

Across the valley, a waterfall stumbles down. In a month or two the really hard rains will come down for eighteen hours a day and that waterfall will once again become tough as a glacier and wash away the road. But now it looks as delicate as the path of a white butterfly in a long-exposed photograph.

This gesture is one of the motifs of modernity's turn against the principle of imitating nature, that is to say, imitating predefined morphological expectations. It is still capable of perceiving message-totalities and autonomous thing-signals when no morphologically intact figures are left - indeed, precisely then. The sense for perfection withdraws from the forms of nature - probably because nature itself is in the process of losing its ontological authority. The popularization of photography also increasingly devalues the standard views of things. As the first edition of the visible, nature comes into discredit. It can no longer assert its authority as the sender of binding messages - for reasons that ultimately come from its disenchantment through being scientifically explored and technically outdone. After this shift, 'being perfect' takes on an altered meaning: it means having something to say that is more meaningful than the chatter of conventional totalities. Now the torsos and their ilk have their turn: the hour of those forms that do not remind us of anything has come. Fragments, cripples and hybrids formulate something that cannot be conveyed by the common whole forms and happy integrities; intensity beats standard perfection.

The sense of modernism is often seen in the determination of each of the arts to come as close as possible to its own particular nature, its essence. For instance, lyric poetry rejected anything rhetorical, didactic, embellishing, so as to set flowing the pure fount of poetic fantasy. Painting renounced its documentary, mimetic function, whatever might be expressed by some other medium (for instance, photography). And the novel? It too refuses to exist as illustration of a historical era, as description of society, as defense of an ideology, and instead puts itself exclusively at the service of “what only the novel can say.

The Clockmaker’s Daughter is a book about time and timelessness, truth and beauty, maps and mapmaking, photography, natural history, the restorative properties of walking, brotherhood (having three sons shot that one to the top of the list), houses and the notion of home, rivers and the power of place, among other things.

I wanted to evaluate my own escape from the crowds in 5 different stages so that I could clarify my thoughts and help my readers get more benefits. (1) Getting away from the media (2) Getting away from the big city (3) Going to nature as a life style (4) Getting away from the social media (5) Being only with people I want

Fine arts are are considered as seven sisters named as, Music, Sculpture, Literature , Drama, Architecture & Cinema. However in this digital age , another fine art is to be considered.To-day all seven fine art forms depend on photography for promotion, communication, documentation and survival. Photography should be called the eighth Fine Art.

Robert Louis Stevenson wa Uskochi aliponukuu nahau ya ‘kamera haiwezi kudanganya’ katika kitabu chake cha ‘South Seas’ mwaka 1896, miaka 57 baada ya sanaa ya upigaji wa picha kugunduliwa, hakumaanisha tuwe asili. Hakumaanisha tusizirekebishe picha zetu baada ya kuzipiga na kuzisafisha! Alimaanisha tuwe nadhifu tuonekanapo mbele za watu au mbele ya vyombo vya habari; ambapo picha itapigwa, itasafishwa, itachapishwa na itauzwa kama ilivyo bila kurekebishwa.

Vanity is by far my favorite of all sins, and the camera lens is the ultimate vanity mirror. The camera captures all moods and nuances; immortalizes the soft and silky continuum that is humanity. Those still life moments seem so fluid, so representative of continuity. They are a single moment captured, yet an eternity expressed. All your youth; all your ages, captured and expressed in a single click. Of all the indulgences, vanity is certainly my favorite which we should otherwise resist, but are inexplicably captivated by and addicted. What other animal would spend so much time pouting and preening for its reflection? Only humanity would participate in such self-adoration. You would think we have the most colorful feathers or softest of manes. Rather, we are a naked biped that feels incomplete without some decorative element, accessory, or embellishment of the self. We are intoxicated by the image of the body, no different than we are seduced by fine wines, foods, or mind altering elements. We devour the skin, and peel away clothes as if they were the skin of some tropical fruit, covering a colorful and juicy interior. We hunt for bodily pleasures, and collect them as prizes; show them off in social situations as if our companions were some sort of extended adornment to ourselves. We are revealed in our sensuality. To touch beneath the surface; to connect beyond facades, that unattainable discourse between individuals is put tentatively within reach in intimacy. To capture those moments is to capture the essence of what makes us human, and what ultimately sets us above and aside from the rest of nature. Capturing humanity in its most extravagant expressions is intoxicating. Vanity is by far my favorite sin, and it is an endless tale as infinite as humanity. Every person is but a stitch in a giant tapestry.

Every relation between forms in a painting is to some degree adaptable to the painter's purpose. This is not the case with photography. Composition in the profound, formative sense of the word cannot enter into photography. The true content of a photograph is invisible, for it derives from a play, not with form, but with time. One might argue that photography is as close to music as to painting. I have said that a photograph bears witness to a human choice being exercised. The choice is not between photographing X and Y: but between photographing at X moment or at Y moment. The objects recorded in any photograph (from the most effective to the most commonplace) carry approximately the same weight, the same conviction. What varies is the intensity with which we are made aware of the poles of absence and presence. A photograph, while recording what has been seen, always and by its nature refers to what is not seen. It isolates, preserves, and presents a moment taken from a continuum. The only decision (the still photographer) can take is as regards the moment he chooses to isolate. Yet this apparent limitation gives the photograph its unique power. The immediate relation between what is present and what is absent is particular to each photograph: it may be that of ice to sun, of grief to tragedy, of a smile to a pleasure, of a body to love, of a winning race-horse to the race it has run.

In a few words, since by nature and professional training he was more inclined to listen attentively than to talk, he told her that for some time he had not found employment as a psychologist and was looking for any respectable job. Photography had seemed a good possibility, but since he had not wanted to be like those amateurs who end up begging to photograph weddings, baptisms, and birthdays, he had come to the magazine. “Tomorrow I’m going to interview some prostitutes. Do you want to come along and give it a try?” Irene asked. Francisco accepted on the spot, brushing aside a shadow of sadness, thinking how much easier it was to earn a living by clicking a shutter than it was by placing his experience and hard-won knowledge at the service of his fellow man. When

I despise people who are forever taking pictures and go around with cameras hanging from their necks, always on the lookout for a subject, snapping anything and everything, however silly. All the time they have nothing in their heads but portraying themselves, in the most distasteful manner, though they are quite oblivious of this. What they capture in their photos is a perversely distorted world that has nothing to do with the real world except this perverse distortion, for which they themselves are responsible. Photography is a vulgar addiction that is gradually taking hold of the whole of humanity, which is not only enamored of such distortion and perversion but completely sold on them, and will in due course, given the proliferation of photography, take the distorted and perverted world of the photograph to be the only real one. Practitioners of of photography are guilty of one of the worst crimes it is possible to commit--of turning nature into a grotesque. The people in their photographs are nothing but pathetic dolls, disfigured beyond recognition, staring in alarm into the pitiless lens, brainless and repellent. Photography is a base passion that has taken hold of every continent and every section of the population, a sickness that afflicts the whole of humanity and is no longer curable. The inventor of the photographic art was the inventor of the most inhumane of all arts. To him we owe the ultimate distortion of nature and the human beings who form part of it, the reduction of human beings to perverse caricatures--his and theirs. I have yet to see a photograph that shows a normal person, a true and genuine person, just as I have yet to see one that gives a true and genuine representation of nature. Photography is the greatest disaster of the twentieth century.

In a field where else you found a stack of revealing nature photographs, of supernude nature photographs, split beaver of course nature photographs, photographs full of 70s bush, nature taking come from every man from miles around, nature with come back to me just dripping from her lips. The stack came up to your eye, you saw: nature is big into bloodplay, nature is into extreme age play, nature does wild inter- racial, nature she wants you to pee in her mouth, nature is dead and nature is sleeping and still nature is on all fours, a horse it fucks nature to death up in Oregon, nature is hot young amateur redheads, the foxes are all in their holes for the night, nature is hot old used-up cougars, nature makes gaping fake-agony faces, nature is consensual dad- on-daughter, nature is completely obsessed with twins, nature doing specialty and nature doing niche, exotic females they line up to drip for you, nature getting paddled as hard as you can paddle her, oh a whitewater rapid with her ass in the air, high snowy tail on display just everywhere.

There had to be something new, some fresh angle. As the rain pattered down around him, Kapenda thought. What was the weirdest thing he'd seen since this all started? He'd been in the tiny town of Chew Stoke a few weeks earlier, filming the remains of a vehicle that had been washed into a culvert and whose driver had died. In Grovehill, no one had died yet but there were abandoned cars strewn along the streets and surrounding tracks, hulking shapes that the water broke around and flowed over in fractured, churning flurries. That was old. Every television station had those shots. He'd been there the year before when the police had excavated a mud-filled railway tunnel and uncovered the remains of two people who had been crushed in a landslide. What they needed was something like that here, something that showed how weak man's civilized veneer was when set against nature's uncaring ferocity. He needed something that contrasted human frailty and natural strength, something that Dali might have painted - a boat on a roof, or a shark swimming up the main street. He needed that bloody house to collapse. ("Into The Water")

This photo is classic aestheticism. The engaging expression, the loose dress and fluid posture. Early to mid-1860's, if I had to guess." "It reminded me of the Pre-Raphaelites." "Related, definitely; and of course the artists of the time were all inspired by one another. They obsessed over things like nature and truth; color, composition, and the meaning of beauty. But where the Pre-Raphaelites strove for realism and detail, the painters and photographers of the Magenta Brotherhood were devoted to sensuality and motion." "There's something moving about the quality of light, don't you think?" "The photographer would be thrilled to hear you say so. Light was of principal concern to them: they took their name from Goethe's color wheel theories, the interplay of light and dark, the idea that there was a hidden color in the spectrum, between red and violet, that closed the circle. You have to remember, it was right in the middle of a period when science and art were exploding in all directions. Photographers were able to use technology in ways they hadn't before, to manipulate light and experiment with exposure times to create completely new effects.

The Naked Truth When the gift-giving meaning of the body is obscured, distorted, or misrepresented, art becomes a lie. This is what happens in pornography. The body—which was created to be a free gift from one person to another—is depersonalized and reduced to an object for lust. This concern for human dignity goes against the grain of “naturalism” in art. The so-called naturalists demand the right to reproduce “everything that is human.” What others call pornography, they defend as a realistic depiction of humanity. But in the end, it is precisely this—the whole truth about man—that is lost when privacy is violated and the body is reduced to an object for lust. In order to speak of true realism in art, the full truth about man as created in the image of God must be considered. In this respect, the principles governing interpersonal relations still apply within the realm of art. The naked human body has a “language.” It expresses the spirit. When given in trust and love, the body is the basis of a communion of persons. Because the naked human body has such importance, it must be depicted with great care to preserve its meaning in art. Only within certain boundaries can the truth about the body be preserved. In film, photography, and mass media, there is a dangerous tendency to separate the body from the person. Reproduced on paper or on screen, the naked body can cease to communicate the person. It often becomes, instead, an anonymous object. Because the glory and beauty of the human body is at stake, we cannot remain indifferent to culture. We do not oppose pornography out of a narrow, puritanical idea of morality. Nor do we oppose it out of a Manichaean fear or hatred of the body, as is often asserted. The exact opposite is true. We oppose pornography out of respect for the dignity of the body.

The art of photography is all about capturing emotions not events.

Caught in duality poetry poverty spinning poles and laughing native folks who only wish to see me grow cold in their sublime storylines like the last of us were in the trenches making sense of where this all goes, somewhere far only the free will ever see maybe. I can't focus on your sunken sea eyes anymore than I belong to the same Cali streets in which I reach forward only to be met in the show, not of myself like I've always known. Facing the smoke and mirrors at once on point and out numbered.

If you really want to become a better photographer don't save other photographers good photographs to your computer, Save it to your heart , then you can take better picture than that picture in similar situations.

If the same visual seen differently by different persons they will be photographers.

Is it possible to further improve something excellent? Yes, it is possible and an uber-excellent photo of an excellent view is proof for this!

Someone: Have you seen the sunset? Me: It's already locked in my phone!

At the top, I put the camera's viewfinder to my eye and slowly turned, the way my grandmother had taught me. From every vantage point something remarkable filled the screen- clusters of wild red columbine, fallen boulders forming geometric designs against the wall, crusty green lichen gnawing on rocks, a Baltimore oriole popping from a thicket of brush, and, at my feet, a grasshopper clinging to a stem of purple aster. I could spend a day here and barely scratch the surface. The sun felt warm on my shoulders as I bent down to capture the blossoms of yellow star grass, the feathery purple petals of spotted knapweed, and the lacy wings of two yellow jackets as they alighted on tiny white blossoms of Labrador tea. By the time I finished taking photos of a monarch butterfly resting on milkweed, I realized an hour had passed.

When you look at nature, you see a hidden mystery that gives a special flavor to the photograph.

We might be excused our ignorance in this case, because ocean-atmosphere systems are, after all, almost inconceivably complex. Less easy to excuse is our astounding lack of knowledge of much more visible features of our planet’s natural resources and ecology—features that have a direct impact on our well-being. For instance, we know surprisingly little about the state of the planet’s soils. While we have good information for some areas, like the Great Plains of the United States, soil data are sketchy for vast tracts of Africa, Asia, and Latin America, where billions of people depend directly on agriculture for survival. So we can’t accurately judge how badly we’ve degraded these soils through overuse and poor husbandry, though we do have patchy evidence that the damage is severe and getting worse in many places.18 Similarly, despite extensive satellite photography, our estimates of the rate and extent of tropical deforestation are rudimentary. We know even less about the natural ecology and species diversity inside these forests, where biologists presume most animal and plant species live. As a result, credible figures on the number of Earth’s species range from 5 to 30 million.19 And when it comes to broader questions—questions of how all these components of the planet’s ecology fit together; how they interact to produce Earth’s grand cycles of energy, carbon, oxygen, nitrogen, and sulfur; and how we’re perturbing these components and cycles—we find a deep and pervasive lack of knowledge, with unknown unknowns everywhere. Our ignorance, for all practical purposes, knows no bounds.

Painting is the mother of Photography

Ask and it will be given to you; seek and you will find; knock and the door will be opened to you. Matthew 7:7 NIV

Фотографията ни дава свободата да си "откраднем" от природата,без да я ощетяваме... Photography gives us the freedom to "steal" from nature without harming Her...

It is another nature that speaks to the camera than to the eye: 'other' above all in the sense that a space informed by human consciousness gives way to a space informed by the unconsciousness.

This man, who in his lifetime was unquestionably the ‘biggest name in India’s wildlife photography’, had more or less to manufacture a camera himself.

The most spectacular photographs are not taken by you; they are gifted to you by nature.

An alternative, Shinzen Young explains, is to pay more attention to every moment, however mundane: to find novelty not by doing radically different things but by plunging more deeply into the life you already have. Experience life with twice the usual intensity, and “your experience of life would be twice as full as it currently is”—and any period of life would be remembered as having lasted twice as long. Meditation helps here. But so does going on unplanned walks to see where they lead you, using a different route to get to work, taking up photography or birdwatching or nature drawing or journaling, playing “I Spy” with a child: anything that draws your attention more fully into what you’re doing in the present.

To create is not to simply capture or record; it is to invent and to infuse—knowingly, deliberately, and expertly—something of the artist’s own mind into the work so that the result is elevated not by its literal appearance alone, but by the significance inscribed, stamped, and sealed into it by its creator—a significance that would never exist without the artist’s subjective imagination and skill. This requires hard work and expert knowledge of one’s chosen medium, not only in the operation of tools or in producing objects of aesthetic appeal, but also in understanding the minds of viewers.

Beyond what's seen, every photo holds a story waiting to be unlocked.

Photos hold history frozen. Great photographers bring it to life.

The camera connects me to the raw beauty of nature.