Philippe Halsman Quotes
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In a jump, the subject, in a sudden burst of energy, overcomes gravity. He cannot simultaneously control his expressions, his facial and his limb muscles. The mask falls. The real self becomes visible. One only has to snap it with the camera.
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Marilyn was history's most phenomenal love goddess.
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Of the thousands of people, celebrated and unknown, who have sat before my camera, I am often asked who was the most difficult subject, or the easiest, or which picture is my favorite. This last question is like asking a mother which child she likes the most.
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In my serious work I am striving for the essence of things and for goals which are possibly unobtainable. On the other hand, everything humorous has great attraction for me, and a childish streak leads me into all kinds of frivolous endeavour.
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I make the woman look at the camera as a symbol of all the eyes that will see the picture I am making.
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A true portrait should, today and a hundred years from today, the Testimony of how this person looked and what kind of human being he was.
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A good portrait is incredibly hard to create, there is too much temptation to pander to the individual rather than portray them as they really were.
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The idea of having people jump for the camera can seem like a gimmick, but it is telling that jumpology shares a few syllables with psychology. As Halsman, who died in 1979, said, 'When you ask a person to jump, his attention is mostly directed toward the act of jumping, and the mask falls, so that the real person appears.'
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The word "photography" can be interpreted as "writing with light" or "drawing with light." Some photographers are producing beautiful photographs by drawing with light.. Some other photographers are trying to tell something with their photographs. They are writing with light.
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This fascination with the human face has never left me... Every face I see seems to hide and sometimes, fleetingly, to reveal the mystery of another human being... Capturing this revelation became the goal and passion of my life.
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When the photographer Philippe Halsman said, 'Jump,' no one asked how high. People simply pushed off or leapt up to the extent that physical ability and personal decorum allowed. In that airborne instant Mr. Halsman clicked the shutter. He called his method jumpology.
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No photographer should be blamed when, instead of capturing reality, he tries to show things he has seen only in his imagination. Photography is the youngest art form. All attempts to enlarge its frontiers are important and should be encouraged.
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When you ask a person to jump, his attention is mostly directed toward the act of jumping and the mask falls so that the real person appears.
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Most people stiffen with self-consciousness when they pose for a photograph. Lighting and fine camera equipment are useless if the photographer cannot make them drop the mask, at least for a moment, so he can capture on his film their real, undistorted personality and character.
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I drifted into photography like one drifts into prostitution. First I did it to please myself, then I did it to please my friends, and eventually I did it for the money.
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[Revealing character] can't be done by pushing the person into position or arranging his head at a certain angle. It must be accomplished by provoking the victim, amusing him with jokes, lulling him with silence, or asking impertinent questions which his best friend would be afraid to voice.
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The immortal photographers will be straightforward photographers, those who do not rely on tricks or special techniques.
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Dali likes me taking his picture because he is interested in pictures that do not simply reproduce reality. Even in photos he prefers to appear outside reality .That is surrealistic!
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The head of the photographer is more important than his camera.
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With a woman I try to photograph her beauty; with a man I try to show his character. Once I photographed a man with a big nose (Jimmy Durante), and emphasized his nose, and he was very pleased with the picture. That could not happen with a woman. The most intelligent woman will reject a portrait if it doesn't flatter her.
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I know of few actresses who have this incredible talent for communicating with a camera lens. She would try to seduce a camera as if it were a human being.
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I am often asked which picture is my favorite. This is like asking a mother which child she likes the most.
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Herein lies the main objective of portraiture and also its main difficulty. The photographer probes for the innermost. The lens sees only the surface... .