Henri Cartier-Bresson Quotes

I look at every piece of furniture and every object as an individual sculpture.

If you're a photographer, you end up being the raw creative force that allows other people to see what kind of narrative you want to be giving or what kind of art that you want people to see.

It's seldom you make a great picture. you have to milk the cow quite a lot to get plenty of milk to make a little cheese.

The greater the length, the more beautiful will the piece be by reason of its size, provided that the whole be perspicuous.

Only a fraction of the camera's possibilities interests me - the marvelous mixture of emotion and geometry, together in a single instant.

I learned working with the negatives could make for better pictures

I can actually feel the interior body of a dancer. I have the ability to capture a split second... I want you to be hit with whatever the essence is of this sculpture.

I'm not an art director; I'm just not. I've always been somebody who has a sensibility that I hope is the same sensibility of others.

Twelve significant photographs in any one year is a good crop.

The level of detail and craft is something that's inscribed within the original design concept. And so when I begin to draw, I know what kind of detailing I want the building to have.

I love telling stories with images. But I think there's more to just saying a movie is great visually.

No photographer is as good as the simplest camera.

Then came the choreography... the impact of music and choreography tends to really emphasize an overall feeling of what you really want out of the program.

If I can say one thing for my pictures, it is a certain craftsmanship. A thought which has gone into every angle. There is nothing there without an optical reason.

It's far better to shoot a good picture than a good-looking picture.

Every time we do anything artistic, the way it's perceived is always going to be different from the way that we had intended it to be because it's subjective.

There's no set like a Ryan Murphy set, mainly because it feels like he's built an entire world. He's so thoughtful and meticulous, and every detail is thought about and cared for.

In the late Fifties and early Sixties, I used to think that most of these fashion creators weren't that great, and if the photograph was good, it was mostly thanks to the photographer.

There may never be anything new to say, but there is always a new way to say it, and since, in art, the way of saying a thing becomes a part of what is said, every work of art is unique and requires fresh attention.

Everything depends on the attitude of the artist toward his subject. It is essential.

A lot of photographers think that if they buy a better camera they'll be able to take better photographs. A better camera won't do a thing for you if you don't have anything in your head or in your heart.

The best pictures differentiate themselves by nuances...a tiny relationship - either a harmony or a disharmony - that creates a picture.

With the camera, it's all or nothing. You either get what you're after at once, or what you do has to be worthless. I don't think the essence of photography has the hand in it so much. The essence is done very quietly with a flash of the mind, and with a machine. I think too that photography is editing, editing after the taking. After knowing what to take, you have to do the editing.

There's nothing else exactly like it in any other art form, the orchestration of so many different elements. It's endlessly fascinating what can be done editorially. You can create meaning where there was none, you can create feeling where there was none, you can create narrative where there was none. Two frames can be the difference between something that works and something that doesn't. It's fascinating.

If your vision of the world is of a certain kind you will put poetry in everything, necessarily.