Subject Photography Quotes

For me, the subject of the picture is always more important than the picture.

He owned an expensive camera that required thought before you pressed the shutter, and I quickly became his favorite subject, round-faced, missing teeth, my thick bangs in need of a trim. They are still the pictures of myself I like best, for they convey that confidence of youth I no longer possess, especially in front of a camera.

It is photography itself that creates the illusion of innocence. Its ironies of frozen narrative lend to its subjects an apparent unawareness that they will change or die. It is the future they are innocent of. Fifty years on we look at them with the godly knowledge of how they turne dout after all - who they married, the date of their death - with no thought for who will one day be holding photographs of us.

Photographers tend not to photograph what they can’t see, which is the very reason one should try to attempt it. Otherwise we’re going to go on forever just photographing more faces and more rooms and more places. Photography has to transcend description. It has to go beyond description to bring insight into the subject, or reveal the subject, not as it looks, but how does it feel?

In photography, the smallest thing can be a great subject. The little human detail can become a Leitmotiv.

No matter how much crap you gotta plow through to stay alive as a photographer, no matter how many bad assignments, bad days, bad clients, snotty subjects, obnoxious handlers, wigged-out art directors, technical disasters, failures of the mind, body, and will, all the shouldas, couldas, and wouldas that befuddle our brains and creep into our dreams, always remember to make room to shoot what you love. It’s the only way to keep your heart beating as a photographer.

That frame of mind that you need to make fine pictures of a very wonderful subject, you cannot do it by not being lost yourself.

What pricks me is the discovery of this equivalence. In front of the photograph of my mother as a child, I tell myself: She is going to die: I shudder… over a catastrophe which has already occurred. Whether or not the subject is already dead, every photograph is this catastrophe.

It’s the power of photography. To capture it and let it live past the subject’s lifetime. To allow someone to look at it years later and smile along with them.

The sucess of your people pictures depends not so much on your mastery of f/stops and shutter speeds, as on the grace and wit with which you handle this intimate interaction with you subject.

But the very question of whether photography is or is not an art is essentially a misleading one. Although photography generates works that can be called art --it requires subjectivity, it can lie, it gives aesthetic pleasure-- photography is not, to begin with, an art form at all. Like language, it is a medium in which works of art (among other things) are made. Out of language, one can make scientific discourse, bureaucratic memoranda, love letters, grocery lists, and Balzac's Paris. Out of photography, one can make passport pictures, weather photographs, pornographic pictures, X-rays, wedding pictures, and Atget's Paris. Photography is not an art like, say, painting and poetry. Although the activities of some photographers conform to the traditional notion of a fine art, the activity of exceptionally talented individuals producing discrete objects that have value in themselves, form the beginning photography has also lent itself to that notion of art which says that art is obsolete. The power of photography --and its centrality in present aesthetic concerns-- is that it confirms both ideas of art. But the way in which photography renders art obsolete is, in the long run, stronger.

There is nothing wrong with entertainment. As some psychiatrist once put it, we all build castles in the air. The problems come when we try to live in them. The communications media of the late nineteenth and early twentieth centuries, with telegraphy and photography at their center, called the peek-a-boo world into existence, but we did not come to live there until television. Television gave the epistemological biases of the telegraph and the photograph their most potent expression, raising the interplay of image and instancy to an exquisite and dangerous perfection. And it brought them into the home. We are by now well into a second generation of children for whom television has been their first and most accessible teacher and, for many, their most reliable companion and friend. To put it plainly, television is the command center of the new epistemology. There is no audience so young that it is barred from television. There is no poverty so abject that it must forgo television. There is no education so exalted that it is not modified by television. And most important of all, there is no subject of public interest—politics, news, education, religion, science, sports—that does not find its way to television. Which means that all public understanding of these subjects is shaped by the biases of television.

In terms of image-repertoire, the Photographer (the one I intend) represents that very subtle moment when, to tell the truth, I am neither subject nor object but a subject who feels he is becoming an object: I then experience a micro-version of death.

The unary Photograph has every reason to be banal, 'unity' of composition being the first rule of vulgar (and notably, of academic) rhetoric: 'The subject,' says one handbook for amateur photographers, 'must be simple, free of useless accessories; this is called the Search for Unity.

Becoming a professional photographer is not a pre-requisite for making successful images. Being passionate about your subject matter is.

I imagine that the essential gesture of the Operator is to surprise something or someone (through the little hole in the camera), and that this gesture is therefore perfect when it is performed unbeknownst to the subject being photographed. From this gesture derive all photographs whose principle (or better whose alibi) is “shock”; for the photographic “shock” consists less in traumatizing than in revealing what was so well hidden that the actor himself was unaware or unconscious of it.

My parents were not one for photography, and my dad earned the nickname 'Henry VII' for his ability to slice the heads off of subjects for his snaps

Perhaps the central question about [Eliot] Porter's work is about the relationship between science, aesthetics, and environmental politics. His brother, the painter and critic Fairfield Porter, wrote in a 1960 review of [Porter's] colour photographs: 'There is no subject and background, every corner is alive,' and this suggests what an ecological aesthetic might look like.

Whenever I listen to an artist or an art historian I'm struck by how much they see and how much they know--and how much I don't. Good art writing should therefore do at least two things. It should teach us how to look: at art, architecture, sculpture, photography and all the other visual components of our daily landscape. And it should give us the information we need to understand what we're looking at.

Edward counseled that a photograph of consequence could be made from just about anything. Subject matter, in itself, was not critical. The understanding of the photographer was.

Ideas, conceptual ans visual, are all forms of art are about. Everything else is nothing more than the subject matter, ans technique, which is easily learned.

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 believe that photography could be used to inspire change. It could tell the truth, and force people to pay attention. I cannot pursue that now, Em, for people want portraits, and portraits alone, but I think that a portrait is a terribly false thing, for what shows in a portrait is little more than a mask made of all that the subject would like the viewer to believe he is.

The difference between the casual impression and the intensified image is about as great as that separating the average business letter from a poem. If you choose your subject selectively—intuitively—the camera can write poetry.

Group f.64 believed that photographic beauty was defined by beautiful prints produced by purely photographic means. The subjects need not be beautiful. What might appear ugly or commonplace could have value through the respectful understanding and expression of the photographer.

Over the years I have read many, many books about the future, my ‘we’re all doomed’ books, as Connie liked to call them. ‘All the books you read are either about how grim the past was or how gruesome the future will be. It might not be that way, Douglas. Things might turn out all right.’ But these were well-researched, plausible studies, their conclusions highly persuasive, and I could become quite voluble on the subject. Take, for instance, the fate of the middle-class, into which Albie and I were born and to which Connie now belongs, albeit with some protest. In book after book I read that the middle-class are doomed. Globalisation and technology have already cut a swathe through previously secure professions, and 3D printing technology will soon wipe out the last of the manufacturing industries. The internet won’t replace those jobs, and what place for the middle-classes if twelve people can run a giant corporation? I’m no communist firebrand, but even the most rabid free-marketeer would concede that market-forces capitalism, instead of spreading wealth and security throughout the population, has grotesquely magnified the gulf between rich and poor, forcing a global workforce into dangerous, unregulated, insecure low-paid labour while rewarding only a tiny elite of businessmen and technocrats. So-called ‘secure’ professions seem less and less so; first it was the miners and the ship- and steel-workers, soon it will be the bank clerks, the librarians, the teachers, the shop-owners, the supermarket check-out staff. The scientists might survive if it’s the right type of science, but where do all the taxi-drivers in the world go when the taxis drive themselves? How do they feed their children or heat their homes and what happens when frustration turns to anger? Throw in terrorism, the seemingly insoluble problem of religious fundamentalism, the rise of the extreme right-wing, under-employed youth and the under-pensioned elderly, fragile and corrupt banking systems, the inadequacy of the health and care systems to cope with vast numbers of the sick and old, the environmental repercussions of unprecedented factory-farming, the battle for finite resources of food, water, gas and oil, the changing course of the Gulf Stream, destruction of the biosphere and the statistical probability of a global pandemic, and there really is no reason why anyone should sleep soundly ever again. By the time Albie is my age I will be long gone, or, best-case scenario, barricaded into my living module with enough rations to see out my days. But outside, I imagine vast, unregulated factories where workers count themselves lucky to toil through eighteen-hour days for less than a living wage before pulling on their gas masks to fight their way through the unemployed masses who are bartering with the mutated chickens and old tin-cans that they use for currency, those lucky workers returning to tiny, overcrowded shacks in a vast megalopolis where a tree is never seen, the air is thick with police drones, where car-bomb explosions, typhoons and freak hailstorms are so commonplace as to barely be remarked upon. Meanwhile, in literally gilded towers miles above the carcinogenic smog, the privileged 1 per cent of businessmen, celebrities and entrepreneurs look down through bullet-proof windows, accept cocktails in strange glasses from the robot waiters hovering nearby and laugh their tinkling laughs and somewhere, down there in that hellish, stewing mess of violence, poverty and desperation, is my son, Albie Petersen, a wandering minstrel with his guitar and his keen interest in photography, still refusing to wear a decent coat.

Competition does not drive me. I do things better for pleasure and without trying. I mistakenly studied difficult subjects that were no use to me when I might have studied the arts for pleasure, which would have smoothed my path. I wasted time trying to be good at math. I taught myself the things that mattered to me most: to write and to take pictures.

Now give me some advice about how to take full advantage of this city. I’m always looking to improve my odds.” “Just what I’d expect from a horny actuary.” “I’m serious.” Carlos reflected for a moment on the problem at hand. He actually had never needed or tried to take full advantage of the city in order to meet women, but he thought about all of his friends who regularly did. His face lit up as he thought of some helpful advice: “Get into the arts.” “The arts?” “Yeah.” “But I’m not artistic.” “It doesn’t matter. Many women are into the arts. Theater. Painting. Dance. They love that stuff.” “You want me to get into dance? Earthquakes have better rhythm than me…And can you really picture me in those tights?” “Take an art history class. Learn photography. Get involved in a play or an independent film production. Get artsy, Sammy. I’m telling you, the senoritas dig that stuff.” “Really?” “Yeah. You need to sign up for a bunch of artistic activities. But you can’t let on that it’s all just a pretext to meet women. You have to take a real interest in the subject or they’ll quickly sniff out your game.” “I don’t know…It’s all so foreign to me…I don’t know the first thing about being artistic.” “Heeb, this is the time to expand your horizons. And you’re in the perfect city to do it. New York is all about reinventing yourself. Get out of your comfort zones. Become more of a Renaissance man. That’s much more interesting to women.

With a vintage lens and an eye on regional America, Varjabedian captures both the spirit of place and the sense of enduring culture in the southwest. His imagery comments upon landscape, culture, and how the two influence and imprint each other. Sometimes tinged with religiosity, sometimes humorous, his photographs have an intense clarity that befits his subject: New Mexico.

As to “Aesthetic Considerations,” Ansel counseled, “A photograph that is merely a superficial record of the subject fails as an aesthetic expression of that subject. The expression must be an emotional amplification, and this emotional amplification relates to point of view, organization, revelation of substance through textures, tonal relations, and the perfection of the technical expression of all these elements.”54

When you raise the camera to your eye you become responsible for contextualizing the history of the person you are photographing. It is critical that photographers take that responsibility as seriously as they do the photograph itself. Stories need to be approached with intellectual curiosity rather than a mere visual curiosity. It is also critical they consider the people they are photographing as collaborators, not “subjects.

Photography transformed subject into object, and even, one might say, into a museum object: in order to take the first portraits the subject had to assume long poses under a glass roof in bright sunlight; to become an object made one suffer as much as surgical operation; then a device was invented, a kind of prosthesis invisible to the lens, which supported and maintained the body in its passage to immobility: this headrest was the pedestal of the statue I would become, the corset of my imaginary essence.

She was my champion. She was my archive. She had taken the utmost care to preserve the evidence of my existence and growth. Capturing me in images. Saving all my documents and possessions. She had all knowledge of my being memorized. The time I was born. My unborn cravings. The first book I read. The formation of every characteristic. Every ailment and little victory. She observed me with unparalleled interest. Inexhaustible devotion. Now that she was gone, there was no one left to ask about these things. The knowledge left unrecorded died with her. What remained were documents and my memories. And now it was up to me to make sense of myself, aided by the signs she left behind. How cyclical and bittersweet, for a child to retrace the image of their mother. For a subject to turn back to document the archivist… The memories I had stored, I could not let fester. Could not let trauma infiltrate and spread to spoil and render them useless. They were moments to be tended. The culture we shared was active, effervescent in my gut and in my genes and I had to seize it, foster it, so it did not die in me, so that I could pass it on someday. The lessons she imparted, the proof of her life lived on in me in my every move and deed. I was what she left behind. If I could not be with my mother, I would be her.

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 the past, people were vaguely fearful of photographs, believing the camera's exact reproduction of their own image would steal their souls. Not only did these images survive for much longer than their subjects, they were also endowed with an aura of magic the subjects lacked. A superstition, but one whose traces can still be felt today. People sense that the photograph captures an uncanny moment in the interstices of reality, enhancing reality's eeriness, the root of which is unknown, and fixing that moment in place like a death mask. Photography differs from the art of painting in that capturing or exposing such a moment happens neither at the will of the photographer nor the one who is photographed. What is photographed is a ghost moment, clothed in matter. Photography is the dream of comprehensive meaning. Each object has parts of itself that are invisible. This territory, which neither the photographer nor the subject can govern, constitutes the secret kept by the object. Unrelated to the intention of either photographer or subject, within the magic of photography dwells a still, quiet shock. Try to imagine our house one day when we ourselves are no more. Somewhere in that house is the ghost of us, which will pass alone in front of a blind mirror, revealing our own blurred image.

The only genuinely photographic subjects are those which are violated, taken by surprise, discovered or exposed despite themselves, those which should never have been represented because they have neither self-image nor selfconsciousness. The savage - like the savage part of us - has no reflection. He is savagely foreign to himself. The most seductive women are the most selfestranged (Marilyn). Good photography does not represent anything: rather, it captures this non-representability, the otherness of that which is foreign to itself (to desire, to self-consciousness), the radical exoticism of the object. Objects, like primitives, are way ahead of us in the photogenic stakes: they are free a priori of psychology and introspection, and hence retain all their seductive power before the camera. Photography records the state of the world in our absence. The lens explores this absence; and it does so even in bodies and faces laden with emotion, with pathos. Consequently, the best photographs are photographs of beings for which the other does not exist, or no longer exists (primitives, the poor, objects). Only the non-human is photogenic. Only when this precondition is met does a kind of reciprocal wonder come into play - and hence a collusiveness on our part vis-a-vis the world, and a collusiveness on the part of the world with respect to us.

Photography is our exorcism. Primitive society had its masks, bourgeois society its mirrors, and we have our images. We believe that we bend the world to our will by means of technology. In fact it is the world that imposes its will upon us with the aid of technology, and the surprise occasioned by this turning of the tables is considerable. You think you are photographing a scene for the pleasure of it, but in fact it is the scene that demands to be photographed, and you are merely part of the decor in the pictorial order it dictates. The subject is no more than the funnel through which things in their irony make their appearance. The image is the ideal medium for the vast self-promotion campaign undertaken by the world and by objects - forcing our imagination into self-effacement, our passions into extraversion, and shattering the mirror which we hold out (hypocritically, moreover) in order to capture them. The miraculous thing about the present period is that appearances, so long reduced to a voluntary servitude, have now become sovereign, and turned back towards (and against) us by means of the very technology from which we had earlier evicted them. Today they come from elsewhere, from their own place, from the heart of their banality, of their objectality: they surge forth on all sides, multiplying of their own accord, and joyfully. (The joy of taking photographs is an objective joy, and anyone who has never felt the objective transports of the image, some morning, in some town or desert, will never understand the pataphysical delicacy of the world.)

The photo was published in the majority of Brazilian newspapers in a full-page spread when CNN and all the television channels of the world broadcast the scene, they froze it for a few seconds. Or minutes, hours, I don't know. For me time has infinite duration--I don't know how to measure it by normal parameters. Trying doesn't even interest me. From the World Trade Center buildings, minutes, prior to their collapse--which would appear as a perfect and planned implosion--only a grayish-blue and black vertical lines can be seen. Like a modernist painting--by whom? Which artist painted lines? Mondrian? No, not Mondrian, he painted squares, rectangles. Anyway, in the picture, the man is falling head first. his body straight, one of his legs bent. Did he jump? Slip? Did he faint and then fall? He probably lost consciousness because of the height, the smoke. He fell. He disappeared from the scene, from life, from the city. A million tons of rubble buried him soon after. Nobody knows his name. Impossible for his family to have him identified. He's an unknown who entered into history at the twenty-first century's first great moment of horror--the history of the world, the United States, communications, photography. Without anyone knowing who he is. And nobody will ever know. We'll only have suppositions, families who'll swear that he was theirs. But was he Brazilian, American, Latino, Chinese, Italian, Irish--what? He could have been anything, but now he's nothing. One among thousands gone forever. And, while we're on the subject, what about the firemen who supposedly became such heroes that day--can you name a single one?

About Photographers: We are only as good as our Subject so we are only %50 responsible for your gorgeous photos. Stay beautiful my friends.

The subject, timing and light makes a photograph, great. Greater, is the photographer when he senses these are right.

The key to a successful portrait has less to do with technique and more to do with having an authentic and meaningful connection with the subject.

The beauty of the subject often deceives us into thinking that someone is a great photographer.

5. not-so-magic hour The most flattering light for vacation photos is the golden glow just before sunset or right after sunrise, and the most unflattering is, undoubtedly, the full-strength glaring sun. Make the best of a bright situation by seeking the softer light created by the shade of a beach umbrella, cabana, lifeguard tower, or tall lifeguard. If there's no shade in sight and you're truly committed, ask your subject to face their own shadow, and angle a boogie board to bounce light on their face. Or just ask everyone to close their eyes and look down, then, on the count of three, look up and say "Pina colada." Smiles, guaranteed.

From its start, photography implied the capture of the largest possible number of subjects. Painting never had such an imperial scope. The subsequent industrialization of camera technology only carried out a promise inherent in photography from its very beginning: to democratise all experiences by translating them into images.

Scott Eastman told me that he “never completely fit in one world.” He grew up in Oregon and competed in math and science contests, but in college he studied English literature and fine arts. He has been a bicycle mechanic, a housepainter, founder of a housepainting company, manager of a multimillion-dollar trust, a photographer, a photography teacher, a lecturer at a Romanian university—in subjects ranging from cultural anthropology to civil rights—and, most unusually, chief adviser to the mayor of Avrig, a small town in the middle of Romania. In that role, he did everything from helping integrate new technologies into the local economy to dealing with the press and participating in negotiations with Chinese business leaders. Eastman narrates his life like a book of fables; each experience comes with a lesson. “I think that housepainting was probably one of the greatest helps,” he told me. It afforded him the chance to interact with a diverse palette of colleagues and clients, from refugees seeking asylum to Silicon Valley billionaires whom he would chat with if he had a long project working on their homes. He described it as fertile ground for collecting perspectives. But housepainting is probably not a singular education for geopolitical prediction. Eastman, like his teammates, is constantly collecting perspectives anywhere he can, always adding to his intellectual range, so any ground is fertile for him.

When we see a photo of a sad busker, the first person we should think about is that musician, because the photographer is just an intermediary, the important thing is the person who is the subject of the photo.

He realized the one bit of photographic advice he’d never gotten from his father or Ansel Adams was the need to nurture an emotional bond with his subject, something portrait photographers had always capitalized on. To incorporate this into landscape photography would be a little “out there” to the masses, but for Randy it was a slap on the forehead.

Rarely can they claim to be simply a mirror of events. Like eyewitness reports, images deliver an interpretation of an event from a specific perspective: subjective, sometimes partisan, sometimes manipulative. Anyone who believes a photograph captures "reality" is naïve. Why a picture was taken, who distributed it, what their intention was - these questions must be asked again and again. Photographs can only speak to us only after we have mistrusted and challenged them.

In the photograph, something of the dead remains, even as in taking the photograph, the subject’s death is foreshadowed. Photography, according to these accounts, is a relic, a remnant of the subject through which it is present to the world even after destruction (in the case of inanimate physical objects) or death (in the case of living creatures); the photograph is the best of all possible fetishes.

The photograph not only stops time, Benjamin argues, but also works to project the future out of the past. The photograph is a forward-looking document, so to speak, anticipating a future viewer who will recognise in it a spark of contingency that cannot be contained to one temporal moment. As Benjamin puts it in his "Little History of Photography": "No matter how artful the photographer, no matter how carefully posed his subject, the beholder feels an irresistible urge to search such a picture for the tiny spark of contingency, of the here and now, with which reality has (so to speak) seared the subject, to find the inconspicuous spot where in the immediacy of that long-forgotten moment the future nests so eloquently that we, looking back, may rediscover it.

photography can help us to grasp. The camera can capture scenes that pass too quickly, too remotely, or too obscurely for the subject to consciously perceive. By enlarging details, or by slowing down or stopping time, the camera pictures phenomena that the viewer has encountered and unconsciously registered but not consciously processed. This sense of the optical unconscious is not about making latent memory traces visible, however, but rather demonstrating the reach and complexity of unconscious perception,

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.

Even their environments were opposites, and that matters. A painter can paint anywhere; the subject can spring from the painter’s mind. Photographers must be in the presence of their subjects. Stieglitz lived in and photographed a long-tamed landscape, from his skyscraper forests to the fenced pastures of his family’s summerhouse outside the city. Edward could see the snow-capped San Gabriel Mountains from his front porch, and even Los Angeles had been wilderness not that long before.

Documentary photography is one of the prominent and influential branches in the art of photography that records social, cultural, and even historical realities. This type of photography allows the photographer to depict real and sometimes untold stories of everyday life and people. In this type of photography, the main goal is to convey the sense of realness and authenticity of the scenes. In this article, we will review important tips and principles for documentary photography with a camera and explain how to record facts in an attractive and effective way. Choosing the right equipment Choosing the right equipment Choosing the right equipment for documentary photography is very important, because you often need to act quickly and accurately. Using DSLR cameras and mirrorless cameras are the best options for this type of photography. Camera feature advantages High flexibility DSLR, excellent image quality, various lenses Mirrorless light and compact, more speed, silence Recommended lenses: 50mm prime lens: for portraits and close-ups. 24mm wide lens: for shooting wide landscapes and scenes. The importance of light in documentary photography Natural light is one of the main factors in documentary photography. You can't always control the lighting conditions, but learning to use ambient light, especially in public or outdoor settings, can help you create better images. Important points in using light: Natural light: during the golden hours (early morning and evening) is the best time to take documentary photos. This light is soft and pleasant. Shadow Light: If the direct sunlight is strong, try shooting in the shadows to avoid harsh shadows on your subjects. Composition techniques in documentary photography Composition is one of the key principles in documentary photography, with the help of which you can tell a telling and interesting story. The rule of thirds is one of the best and most common compositional rules used by documentary photographers. Rule of thirds: Divide the image frame into three horizontal parts and three vertical parts. Place the important subjects of the photo at the intersection points of these lines. Also, pay attention to the depth of the scene and try to use the foreground and background properly to make your image more dynamic. Taking meaningful photos One of the important principles in documentary photography is the meaningfulness of the images. Each photo should tell a story or capture a special moment. In order for your images to be real and emotional, it is better to interact with your subjects and capture them in their natural state. Don't be afraid to record unexpected and normal moments; Because these moments can better reflect the reality of everyday life. Recording feelings and emotions: Documentary photography should be able to show feelings and emotions well. Pay attention to small details in faces, gestures and looks. These details can add depth to your images. Choose the right angle The right angle of view can make a big difference in the impact of your documentary photo. Try different angles to find the best way to tell your story. Low Angle: To show the power or glory of a subject. High Angle: To show the smallness or loneliness of the subject. Normal angle (Eye Level): to create a closer and more realistic connection with the viewer. Camera settings for documentary photography Camera settings for documentary photography Camera settings are very important for documentary photography, as you may be shooting in different light conditions and at high speed. In the following, we mention some key camera settings for documentary photography. shutter speed For documentary photography, where there is a lot of movement in the scene, the shutter speed is very important. If you are shooting moving scenes, the shutter speed should be faster than 1/250 second to avoid blurring. resource : nivamag.ir

To take a picture is to have an interest in things as they are, in the status quo remaining unchanged, to be in complicity with whatever makes a subject interesting, worth photographing-including, when that is the interest, another person's pain or misfortune.

Similarly, if you fill the frame with a dark subject, such as dark rock or a black bear, and use the exposure recommended by the meter, you will get a gray rock or gray bear.

Photography is about personal style, what draws you to a subject and how to capture that subject is unique to you. The key is to find the best way to focus the viewer’s attention to where you want it by removing distractions from the frame.

Photography can be an intimate experience between the photographer and his subject. But there are so many ways to express the connection without a camera in the way.

Actually, no. I won't ever go digital. I work with thirty-five or large format. I like the hand-jobs, you know. And I still do most of my own printing. I've developed such a profound distaste for touch-up and modern artifice—comes from snapping too many derelicts and detritus, perhaps, but I love it. Photo bloody Shop can go stuff it. A picture should be honest, even if the subject is contrived on the ground, you know; not dolled-up for advertising punch or sex appeal.

The first thing to do is carry a notebook and during quiet times or as the thought occurs to you, compile a list of anything that really interests you. In other words, write a list of subjects which fascinate you without regard to photography.

With the advent of the first truly revolutionary means of reproduction, photography, simultaneously with the rise of socialism, art sensed the approaching crisis which has become evident a century later. At the time, art reacted with the doctrine of l'art pour l'art, that is, with a theology of art. This gave rise to what might be called a negative theology in the form of the idea of "pure" art, which not only denied any social function of art but also any categorizing by subject matter.

For one can no more live without leaving tracks than one can without casting a shadow. S., as his eminence grise, is stealing his tracks, and he cannot fail to sense the magic to which he is being subjected. He is being photographed incessantly. The photograph here has neither a voyeuristic nor an archival function. Its simple message has the form: at this location, at such and such a time, in this particular light, someone was present. But at the same time it conveys the following: there was no point in being here, in such and such a place, and at such and such a time - and in fact no one was here; I was the one who followed him, and I can assure you that no one was here. It is of no interest to know that someone is leading a double life. It is the tailing itself that supplies the other with a double life. The most ordinary of lives may be transfigured in this way; likewise, the most extraordinary of lives may be rendered trite. In any case, life thus succumbs to a strange attraction.

The most beautiful of all photographs are those taken of savages in their natural surroundings. The savage is always confronting death, and he confronts the lens in exactly the same manner. He does not ham it up, nor is he indifferent. He always poses; he faces up to the camera. His achievement is to transform this technical operation into a face-to-face confrontation with death. This is what makes these pictures such powerful and intense photographic objects. As soon as the lens fails to capture this pose, this provocative obscenity of the object facing death, as soon as the subject begins to collude with the lens, and the photographer too becomes subjective, the 'great game' of photography is over. Exoticism is dead. Today it is very hard indeed to find a subject - or even an object - that does not collude with the camera lens. The only trick here, generally speaking, is to be ignorant of how one's subjects live. This gives them a certain aura of mystery, a savagery, which the successful picture captures. It also captures a gleam of ingenuity, of fatality, in their faces, betraying the fact that they do not know who they are or how they live. A glow of impotence and awe that is completely lacking in our tribes of worldly, devious, fashion-conscious and self-regarding people, always well-versed in the subject of themselves - and hence devoid of all mystery. For such people the camera is merciless.

On my first road trip after the pandemic, I had a nervous breakdown. I felt like I'd forgotten how to take pictures. To calm myself, I'd reread the advice Allen Ginsberg gave to students in the photography workshop he ran with Robert Frank: Ordinary mind Includes eternal perceptions. Observe what's vivid. Notice what you notice. Catch yourself thinking. Vividness is self-selecting. Frist thought, best thought. Subject is known by what she sees. Others can measure their vision by what we see. Candor ends paranoia.

Again, I violated venture-capital rules, bringing in as new CEO a friend and former LEK consultant, Robin Field, who had no experience in Filofax’s industry (we look at LEK Consulting below). His mission, I said, was to make Filofax a star again and slash costs. Apart from that, I told him, I had no idea what to do. Robin found that the product line had expanded beyond all control. ‘The same basic binder,’ he said, ‘was available in a bewildering variety of sizes and huge assortment of - mainly exotic - skins. I don’t know what a karung is, but I inherited an awful lot of its skin in 1990. Similarly, name a subject - bridge, chess, photography, bird watching, windsurfing, whatever. Filofax had commissioned specialist inserts, had tens of thousands printed, and put them into the warehouse. The result, of course, was not only a huge overhang of worthless stock, not only an administrative burden of vast complexity, but also total confusion among our retailers.

It was a place where she knew what was going to happen, it was a place where she would always choose the right side, where the failure was in history and not herself, where she did not read the wrong writers, was no seized with surges of enthusiasm for the wrong leaders, did not eat the wrong animals, cheer at bullfights, call little kids Pussy as a nickname, believe in fairies or mediums or spirit photography, blood purity or manifest destiny or night air, did not lobotomize her daughters or send her sons to war, where she was not subject to the swells and currents and storms of the mind of the time—which could not be escaped except through genius, and even then you probably beat your wife, abandoned your children, pinched the rumps of your maids, had maids at all. She had seen the century spin to its conclusion and she knew how it all turned out. Everything had been decided by a sky in long black judge robes, and she floated as the head at the top of it and saw everything, everything, backward, backward, and turned away in fright from her own bright day.

Sontag said a photograph was, by its nature, a violation. It allowed the photographer to see people the way they never saw themselves, giving them knowledge the subject couldn't possess. She called it a "soft murder.

The subjects that fascinate me are substantially varied. Sometimes I am transfixed by the emptiness of a scene, at other times by the chaos. Sometimes I am drawn to the vibrant richness of colours, at other times to the mute lack of it. But one thing is certain, in the midst of space and light, I always find meaning.

In a city as diverse and culturally rich as Hyderabad, the demand for professional photographers has never been higher. From capturing timeless moments at weddings and documenting corporate events to creating stunning fashion portfolios and commercial campaigns, professional photographers in Hyderabad play a vital role in preserving memories and promoting businesses. Professional photographers in Hyderabad are not just individuals with cameras; they are visual storytellers, artists, and technicians. Their primary role is to use their expertise in photography to capture moments, emotions, and subjects in a way that conveys a specific message or narrative. One of the key aspects of professional photography is the ability to understand and cater to the specific needs of clients. This requires effective communication, as photographers must work closely with their clients to ensure that the final images align with their expectations.

Life happens between frames. If you don’t put down the camera to experience your subject, how can you bring anything uniquely personal to the story? Great photography is just great storytelling. Great storytelling evolves from a life well lived. Live first.

Guide for your ISO settings • 50-200 ISO For very bright sunny days or when you want the ultimate in smooth, sharp images. • 400 ISO A good all-round setting, suitable for overcast skies or when you need a fast shutter speed. • 800 ISO For interiors, low-light outdoor subjects or action photography when you don’t want to use flash. • 1600 ISO For night shooting or indoor low available light, or with very long lenses. Grain/noise may be a problem. Try using your noise reduction setting. • 3200 ISO Much the same as 1600 but with more grain/noise. The grainy effect of fast film can look great with black and white subjects.

A portrait that declines to name its subject becomes complicit, if inadvertendy in the cult of celebrity that has fueled an insatiable appetite for the opposite sort of photograph: to grant only the famous their names demotes the rest to representative instances of their occupations, their ethnicities, their plights.

Photography and the cinema on the other hand are discoveries that satisfy, once and for all and in its very essence, our obsession with realism. No matter how skillful the painter, his work was always in fee to an inescapable subjectivity. The fact that a human hand intervened cast a shadow of doubt over the image.

In the search for art the subject gets lost. In the search for a subject one finds art.

In the pixel promises of satellites it could be the Grand Canyon, its awesome chasms and spires, its photogenic strata, our great empty, where so many of us once stood feeling so compressed against all that vastness, so dense, wondering if there wasn’t a way to breathe some room between the bits of us, where we once stood feeling the expected smallness a little, but also a headache where our eyeballs scraped against the limits of our vision, or rather of our imagination, because it was a painting we were seeing though we stood at the sanctioned rim of the real deal. Instead we saw a photograph, blue mist hanging in the foreground, snow collars around the thick rusty trestles. Motel art, and it made us wonder finally how we could have been so cavalier with photography, how we managed a scoff when warned that the cloaked box would swallow a part of the soul. Although in this instance the trouble was not, strictly speaking, the filching of the subject’s soul, for while our souls are meager, nature has surplus. Yet something of the mechanism’s subject was indeed dissolved in that silver chloride, flattened then minted as those promiscuous postcards we saw now, which we could not now unsee, for we had accepted unawares a bit of the Canyon each time we saw a photograph of it, and those pieces, filtered and diluted, had accumulated in us, so that we never saw anything for the first time. Perhaps the ugliest of our impulses, to shove the sublime through a pinhole.

And when I say “think,” I want you to think about the subject, the location, the perspective, the lighting, the timing, the weather, the mood, the pose, the clothes, the expression, the composition, and yes, the camera settings. That’s a lot to absorb,

Sometimes knowing what to shoot is a big relief. Other times, being extemporaneous is the way to go. I love to go out and see what the universe is presenting to me on any given day. Learning to be sensitive to what is out there with no preconceived idea is a wonderful way to discover new subject matter. But only looking for the shot that presents itself in the moment seldom creates new technical skills. In order to master the camera, I give myself special assignments. Giving yourself an assignment helps you to learn about photography and your equipment. By knowing what you want to achieve, you can plan things out. This way you can slow things down. Shoot and confirm. Take notes. Concentrate on getting the shot just right! You will learn to master Aperture Priority, shutter speed, ISO, manual settings, and more. Digital Camera, 2018

Alice of course used the camera to document anything the remotest bit mysterious. She spent her days on what she called "photo walks": looking for objects and people that hinted at a hidden, fey, or wild side, which she would try to coax out with her camera. Once she found a potential subject she worked long and hard composing the shot, sometimes with additional mirrors or a lantern if it was in a dimly lit alley. She developed these images in her aunt's darkroom and then laid them out around her own room, studying them and trying to conjure a world out of what she saw there. Sparkling dew on spiderwebs, gloomy attics, a pile of bright refuse that might have hidden a monster or poem. The elfin qualities of a child, her eyes innocent and old at the same time.

In contrast, the Passion Based entrepreneur is fueled by a passion that revolves around a topic or subject matter they love, including anything from fishing to photography.

The rule of photography says when you can’t get focus on the subject, you don’t keep zooming in rather you zoom out. Use this when you’re stuck in life, don’t keep focusing on problems, rather take a step back and then try to solve it.

Woodman was always, her friend Giuseppe Gallo said, single-mindedly thinking about photography. Never distracted. "Every moment of Francesca's life," he said, "was in preparation for a photograph." One is more easily prepared with an always-ready model, and what subject is more available for exploration than the self? What better stuff to make art of if one is an ambitious artist, which Woodman undoubtedly was? Why not, as a writer, create essays in which I myself appear?

You have to try and stay alive in front of what you see, struggle with reality, get rid of habits and routines. You have to train yourself to look all the time, swinging between the conscious and the unconscious. In a sort of dance, I practice immediate, automatic, and intuitive drawing. I get a Normas joy from it. But the flaunting of reportage—getting into situations, “working” a subject—that is not photography.

Something that I consider ‘my invention’, since I haven’t seen it done anywhere before is ‘Super-speed photography’. Now normal high-speed photography involves either a very fast camera at a high frame rate or the act of ‘freezing’ the motion using flash, while the actual exposure is actually quite long. For much of my high-speed photography with flash I was using shutter speeds of two seconds to give me time to break or shoot whatever my subject was and trigger the flash with a sound activated device. But then I started playing with the idea of using the flash trigger of the camera to actually cause the event.

The term “banal” is used most often in relation to the bland repetition of commodity culture. Artists and photographers turn to banal subject matter in part because it is familiar, producing what Eugenie Shinkle has described as “a kind of post-industrial realism, a turn away from the spectacular.”28 In an age dominated by the excesses of entertainment culture, banality can also represent a refusal of interestingness, a desire to underwhelm the viewer in the hopes of eliciting a more authentic or more critical response.