Brassaï Quotes
Quotes to Explore
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Even today I work with Niall O'Brien, who is far more technically astute than I am, but I still have the clearest idea of every detail I want in my photograph.
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I was invited to photograph Hollywood. They asked me what I would like to photograph. I said, Ugly men.
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Mostly, I worked so quickly, I didn't see the details of a photograph until it was printed.
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I hate having my photograph taken.
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People put barriers up in your path, and one of those barriers is age. They tell you, "You're too old. You don't photograph so well anymore." I know I don't photograph so well anymore, so what can I do? I can do something different, where it doesn't matter as much how I look.
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The same camera that photographs a murder scene can photograph a beautiful society affair at a big hotel.
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I photograph what interests me. I'm not saying anything different.
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Every photograph is a battle of form versus content.
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I photograph to see what the world looks like in photographs.
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In the end, maybe the correct language would be how the fact of putting four edges around a collection of information or facts transforms it. A photograph is not what was photographed, it's something else.
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A photograph can look any way.
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I said the photograph isn't what was photographed, it's something else. It's about transformation. And that's what it is.
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There is no special way a photograph should look.
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For me anyway when a photograph is interesting, it's interesting because of the kind of photographic problem it states - which has to do with the contest between content and form.
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My intention is to make interesting photographs. That's it, in the end. I don't make it up. Let's say it's a world I never made. That's what was there to deal with.
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My project could be only to photograph as I felt and desired, to regulate a pleasant form of living, to get up in the morning-free, to feel the trees, the grass, the water, sky or buildings, people-everything that affects us; and to photograph that which I saw and have always felt.
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I know what I like to use myself. I use Leicas, but when I look at the photograph, I don't ask the photograph questions. Mine or anybody else's. The only time I've ever dealt with that kind of thing is when I'm teaching.
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Well, in terms of what a camera does. Again, you go back to that original idea that what you photograph is responsible for how it [the photograph] looks. And it's not plastic, in a way. The problem is unique in photographic terms.
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A very faithful drawing may actually tell us more about the model but despite the promptings of our critical intelligence it will never have the irrational power of the photograph to bear away our faith.
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Until now I have never really lived! Life on earth is a creeping, crawling business. It is in the air that one feels the glory of being a man and of conquering the elements. There is an exquisite smoothness of motion and the joy of gliding through space. It is wonderful!
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One day in Auschwitz I became so dispirited that I couldn't carry on. They had given me a beating, which wasn't exactly a pleasant experience. It was on a Sunday, and I said: 'I can't get up'. Then my comrades said: 'That's impossible, you have to get up, otherwise you're lost'. They went to a Dutch doctor, who worked with the German doctor. He came to me in the barracks and said: 'Get up and come to the hospital barracks early tomorrow morning. I'll talk to the German doctor and make sure you are admitted'. Because of that I survived.
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Artists raise their kids differently. We communicate to the point where we probably annoy our children. We have art around the house, we have books, we go to plays, we talk. Our focus is art and painting and dress-up and singing. It's what we love. So I think you can see how artists in some way raise other artists.
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For me the criterion of a good photograph is that it is unforgettable.
