silver Gelatin Print

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Enjoy this collection of photographs by Arnold Newman.

Read more in The Essential Collection Of Photographers’ Quotes.

View 12 Great Photographs By Arnold Newman.

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Find out more about Arnold Newman here.

Arnold Newman shares insights from a life in photography.

View 12 Great Photographs By Arnold Newman.

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Find out more about Arnold Newman here.

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Enjoy this collection of quotes by photographer Arnold Newman.

“There are many things that are very false about photography when it is accepted without question. You must recognize and interpret it as you would any other art form, and then maybe it is a little more than real.” – Arnold Newman

“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.”
― Arnold Newman

“We don’t take pictures with cameras – we take them with our hearts and minds.” – Arnold Newman

“The camera is a mirror with a memory, but it cannot think.” – Arnold Newman

“Visual ideas combined with technology combined with personal interpretation equals photography. Each must hold it’s own; if it doesn’t, the thing collapses.” – Arnold Newman

“Influences come from everywhere but when you are actually shooting you work primarily by instinct. But what is instinct? It is a lifetime accumulation of influence: experience, knowledge, seeing and hearing. There is little time for reflection in taking a photograph. All your experiences come to a peak and you work on two levels: conscious and unconscious.” – Arnold Newman

“There are very few Cartier-Bressons, Brassais, and W. Eugene Smiths in the world, but to me these men are photographers. They are artists because they make statements that all of us wish we could have made.” – Arnold Newman

“I didn’t set out to do something different so much as do something that interested me. I wasn’t trying to be avant-garde – that’s being fashionable. You don’t set out to revolutionize art, you make statements for yourself.” – Arnold Newman

“The photographer must be a part of the picture.” – Arnold Newman

“I don’t think any student, any photographer, any person should take pictures the way I take pictures. I build them because it’s the way I am, and that’s the way I should be. If I try to be something else and try to take pictures or talk to you humorously because I think I’ll get a few laughs, no. Somebody else, like Duane Michals might be basically funny. He is that way, he makes me laugh all the time. But he is being himself. A writer must be himself, a painter, all of us – or else suddenly we lose what we have.” – Arnold Newman

“A preoccupation with abstraction, combined with an interest in the documentation of people in their natural surroundings, was the basis upon which I built my approach to portraiture. The portrait of a personality must be as complete as we can make it. The physical image of the subject and the personality traits that image reflects are the most important aspects, but alone they are not enough…We must also show the subject’s relationship to his world either by fact or by graphic symbolism. The photographer’s visual approach must weld these ideas into an organic whole, and the photographic image produced must create an atmosphere which reflects our impressions of the whole.” – Arnold Newman

“There are no rules and regulations for perfect composition. If there were we would be able to put all the information into a computer and would come out with a masterpiece. We know that’s impossible. You have to compose by the seat of your pants.” – Arnold Newman

“I am always lining things up, measuring angles, even during this interview. I’m observing the way you sit and the way you fit into the composition of the space around you.” – Arnold Newman

“I think photography is a matter of controlling what’s in front of you and making it do your will. This, of course, implies absolute mastery over camera, medium, techniques, and the ability to work with the subject and get him willingly and happily without any self-conscious feeling to fall into those things which are natural to him. This is a very complicated thing to do in portraiture. Mine are deliberately self-conscious portraits and therefore contain no forced feeling of candidness… the subject is unaware of the fact that I am waiting – things begin to happen – the man begins to reveal himself. If the background becomes overwhelming and you lose the personality, then I have not made a good portrait and it is not a good picture. I think the world is full of intelligent people who are not really trying to be flattered; what they really want is to be understood”. The more I get to know my subject the more he gets to know me, and so often the pictures taken at the end of a sitting are much better both creatively and interpretively… A photographer is always in a state of preparing himself for a given moment… we have only an instant in which to think and act.” – Arnold Newman

“It seems to me that no one picture can ever be a final summation of a personality. There are so many facets in every human being that it is impossible to present them all in one photograph.” – Arnold Newman

“I’m convinced that any photographic attempt to show the complete man is utter nonsense, to an extent. We can only show, as best we can, what the outer man reveals; the inner man is seldom revealed to anyone, sometimes not even to the man himself. We have to interpret.” – Arnold Newman

“Photography, as we all know, is not real at all. It is an illusion of reality with which we create our own private world.”- Arnold Newman

“Fantasy is like poetry; it can point to the truth.” – Arnold Newman

“I don’t care what you do with that negative, you can retouch it, you can spit on it, you can grind it underfoot. The only thing that matters is if it is honest. If (the picture) is honest, you and everybody can tell. If it is dishonest, you and everybody can tell.” – Arnold Newman

“I often wonder whether I would have done as well in painting.” – Arnold Newman

“Photography is 1% talent and 99% moving furniture.” – Arnold Newman

Read more in The Essential Collection Of Photographers’ Quotes.

View 12 Great Photographs By Arnold Newman.

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Find out more about Arnold Newman here.

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 Contrast with Normal and Luminosity blend modes compared.

When you adjust color in digital images, several common—and often unintended—byproducts arise. Increase or decrease contrast, and saturation will rise or fall. Increase or decrease saturation, and lightness will change. Make a hue adjustment with Curves (or Levels) by targeting specific channels, and an image either will lighten or darken. Make a hue adjustment with Hue/Saturation, and both saturation and luminosity are likely to shift, sometimes lightening and other times darkening. Correct one problem, and you may create another. Sometimes these byproducts are desirable; usually, they’re not. While these changes may be minor, sometimes insignificant, when making subtle adjustments, they can become major when making more dramatic adjustments.

Wouldn’t it be nice if you could target one specific component of color without affecting the others with any color adjustment tool? With a blending technique in Photoshop, you can. You can use the blending mode of adjustment layers to constrain the effects of an adjustment to one or more components of a color. If you’re making an adjustment directly to an image without using adjustment layers, you can Fade (Edit > Fade) the problem away immediately after applying the adjustment.

 You’ll find all of the blend modes in Photoshop’s Layers palette. All layers, including adjustment layers, have a blending mode …

Read more on Digital Photo Pro.

Learn more in my digital photography and digital printing workshops.

Keith Carter shares inspiration and insight into photography.

Learn more about Keith Carter here.

View 12 Great Photographs From Great Photographers.

View more in The Essential Collection Of Documentaries On Photographers.

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Enjoy this collection of quotes by photographer Arthur Meyerson.

“I usually am going out there in a very “open” state of mind and, therefore, my choices are totally instinctual based on whatever is in front of me.” – Arthur Meyerson

“At almost every workshop I’ve taught, someone will come up and ask me what they should shoot and/or where they should go to shoot. I try to explain that photography is a process… a process of discovery. Not only do you discover things to shoot, you discover things about yourself as a photographer. And, you discover what your interests really are and how best to capture those subjects. One suggestion I always make is to avoid preconceptions. Planning can be highly overrated. Don’t go out there with a definitive idea of what you want to shoot. Leave yourself open to chance… whether it’s the light, a moment, etc. This way you will avoid being disappointed by what you don’t find and instead be amazed by what you do!” – Arthur Meyerson

“The type of photographs that I make are more about a response to light.” – Arthur Meyerson

“I began to feel that if I was a good photographer I should be able to produce strong images all day long regardless of the time of day, weather, location or subject. So, it is important to learn to play the hand that’s dealt to you.” – Arthur Meyerson

“I started in black and white and later moved to color. Many have equated this to learning to draw before learning to paint.” – Arthur Meyerson

“For me, a good color photograph has always been more difficult to create than a good black and white image.” – Arthur Meyerson

“There are a couple of tests I apply to determine the strength of a color photograph. First, if I transpose it to black and white, is the image stronger? If yes, then I feel I have failed. In a color photograph, color must be part of the total equation. The next test is time. Print the photo, hang it on the wall, look at it everyday. Have I grown bored with it? Does the color still add? Does the photograph still resonate with me?” – Arthur Meyerson

“All the colors in the image work together within the composition and add to the overall image…. allowing me to express what I can’t express otherwise.” – Arthur Meyerson

“One of the great lessons that I learned from Ernst Haas in working with color, was to throw the picture out of focus, thus, eliminating the subject and then allowing you to see how the colors balance.” – Arthur Meyerson

“Early on, I realized that a graphic image, among other things, can be a useful tool. It can provide an exclamation point to an image. It can become a great simplifier to complex image. It can become an abstraction. It can become the image. At it’s best, it can take the viewer into a whole other world. On the other hand, an overly graphic image can create a very quick “Wow!” sensation and then upon further viewing, lose that original power because it has been discovered. I think the best graphic images are those where the compositions are less obvious and/or include a counterpoint.” – Arthur Meyerson

“I have always felt that my most successful photographs are like short stories; they say the most with the least. The best photographs don’t always have stories with answers; sometimes they’re stories that ask questions. And, sometimes they’re not stories at all; instead they may be visual poems.” – Arthur Meyerson

“When you shoot an assignment, you owe it to the client to try it their way; you owe it to yourself to do it your way and if they don’t like either, you’ll be hitting the highway.” – Arthur Meyerson

Learn more about Arthur Meyerson here.

View 12 Great Photographs From Great Photographers.

View more in The Essential Collection Of Documentaries On Photographers.

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Jerry Uelsmann (born 1934) Apocalypse II, 1967 Gelatin silver print 10 3/4 x 13 5/8 in (27.2 x 34.5 cm) © Jerry Uelsmann

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Enjoy this collection of photographs by Jerry Uelsmann.

Learn more about Jerry Uelsmann here.

View 12 Great Photographs From Great Photographers.

View more in The Essential Collection Of Documentaries On Photographers.

Read more in The Essential Collection Of Quotes By Photographers.

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Highlights From 40 Years


A Short History

“Mummenschanz is a Swiss mask theater troupe who perform in a surreal mask- and prop-oriented style. Founded in 1972 by Bernie Schürch,[1] Andres Bossard (August 9, 1944 – March 25, 1992), and the Italian-American Floriana Frassetto, the group became popular for its play with bizarre masks and forms, light and shadow, and their subtlechoreography. The name Mummenschanz is German for “mummery,” or a play involving mummers. Mummer is an Early Modern English term for a mime artist.”

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Sam Abell shares inspiration and insight into photography.

Learn more about Sam Abell here.

View 12 Great Photographs From Great Photographers.

View more in The Essential Collection Of Documentaries On Photographers.

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England Garden Tour May 2008

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Enjoy this collection of photographs by Sam Abell.

Learn more about Sam Abell here.

View 12 Great Photographs From Great Photographers.

View more in The Essential Collection Of Documentaries On Photographers.

Read more in The Essential Collection Of Quotes By Photographers.


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