Minor White
[Photographer, writer, and theorist, b. 1908, Minneapolis, Minnesota, d. 1976, Cambridge, Massachusetts.]

 The photographer projects himself into everything he sees, identifying himself with everything in order to know it and to feel it better. 
 The objectivity of the camera, used wrongly, is the very devil. 
 No matter how slow the film, Spirit always stands still long enough for the photographer It has chosen. 
 I seek out places where it can happen more readily, such as deserts or mountains or solitary areas, or by myself with a seashell, and while I’m there get into states of mind where I’m more open than usual. I’m waiting, I’m listening. I go to those places and get myself ready through meditation. Through being quiet and willing to wait, I can begin to see the inner man and the essence of the subject in front of me... Watching the way the current moves a blade of grass—sometimes I’ve seen that happen and it has just turned me inside out. 
 Dreams and photographs have something in common; those photographs that yield to contemplation at least have a quality about them that tempt one to set associations going. 
 It is no longer news that a cameraman is faced with a very different situation from that of a painter starting a new canvas. The latter has a bare surface to support an invented image, or a blank space in which to spin invented volumes… The photographer starts from an image already whole. 
 I have often photographed when I am not in tune with nature but the photographs look as if I had been. So I conclude that something in nature says, “Come and take my photograph.” So I do, regardless of how I feel. 
 Vision without association—pristine vision? 
quotes 33-40 of 40
first page previous page page 5 of 5
display quotes