August Sander – ‘I hate nothing more than sugary photographs with tricks, poses and effects. So allow me to be honest and tell the truth our age and its people.’
- Either to take portraits of people in their work similar to what he did.
- Or a simple portrait of someone with little or no photo manipulation so there are no tricks or effects and also a simple pose such as arms by the side so it is not a ‘sugary photograph’ without a pose.
Bertolt Brech – ‘Photography has become a formidable weapon against truth in the hands of bourgeoisie. The enormous quantity of picture material spit out daily by the printing press that consequently appears to possess the character of truth, actually serves only to obscure he facts. The camera can lie just like the type-setting machine.’
- Someone with a newspaper
- Outside the crown court and take a photo of the photographers taking photos of the people coming out
- Or taking photos of a family or friends taking photos of each other, as even if they are having a bad time they must smile.
Bill Brandt – ‘I am not very interested in extraordinary angles. They can be effective on certain occasions, but I do not feel the necessity for them in my own work. Indeed, I feel the simplest approach can often be most effective. A subject placed squarely in the centre of the frame, if attention is not distracted from it by fussy surroundings, has a simple dignity which makes it all the more impressive.’
- Something with obvious angles in
- Taking a photo of someone or thing head on.
Duane Michals – ‘Trust that little voice in your head that says “Wouldn’t it be interesting if…” And then do it.’
IDEA: Take a photo if you feel compelled to
Edward Weston – ‘Don’t be repressed in your work, dare to experiment, consider any urge, if in a new direction all the better.’
IDEA: Take a photo of something you would not normally do for example, landscape, long exposures, street photography or architecture.
Eliot Erwitt – ‘I wasn’t imposing my presence on anyone, which is very important for a would-be journalist. I stayed back. Always let people be themselves.’
- Street photography
- Or just take photos of friends doing something they would normally do.
Jan Groover – ‘You have to follow your nose… to have a mental attitude about what you feel good about and yearn for in a picture. Being able to say “I like it” or “I don’t like it”. That’s first.’
IDEA: Photos at night using the natural light from street lamps, windows etc.
Juergen Teller – ‘Juergen has a very strong individual voice, which is rather a rare accomplishment these days. I love his ability to say out loud what other people our afraid to even think.” – Helmut Lang. Teller became the documentation of Lang’s designs.
Martin Parr –‘I go straight in very close to people and i do that because its the only way you can get the picture. You go right up to them. Even now, i don’t find it each. I don’t announce it. I pretend to be focusing elsewhere. If you take someone’s photograph it is very difficult not to look at them just after. But its the one thing that gives the game away. I don’t try and hide what I’m doing – that would be folly.’
- Maybe more street photography
- Take photos in a similar style of his so documentary with bright colours.
Minor White – ‘Let the subject generate its own photographs. Become a camera’
Nan Goldin – ‘The complete disregard for the camera’s presence indicates its complete saturation in their lives. The subject neither notices nor seems to care that someone has been invited into their private moment.’
IDEA: make sure the person is not looking at the camera showing they do not seem to notice someone is taking a photo of them.
Paul Caponigro – ‘It is one thing to make a picture of what a person looks like, it’s another thing to make a portrait of who they are.’
IDEA: take a photo of someone doing what they love or their hobby.
Philippe Halsman – ‘The immortal photographers will be straightforward photographers, those who do not rely on tricks or special techniques.’
IDEA: do not take photos and edit it afterwards and do not do something in the photo that has tricks such as lens flare.
Robert Capa – ‘If your pictures aren’t good enough, you’re not close enough.’
- Get close to the person physically
- Be close to the person on a friendship or relationship level
Robert Frank – ‘I have been frequently accused of deliberately twisting subject matter to my point of view. Above all, I know that life for a photographer cannot be a matter of indifference. Opinion often consists of a kind of criticism. But criticism can come out of love. It is important to see what is invisible reaction to others. Perhaps the look of hope or the look of sadness. Also it is always the instantaneous reaction to oneself that produces a photograph.’
IDEA: do something that you feel is good.
Yousef Karsh – ‘Photography is, to me, more than a means of expression, more than my particular profession – it is a way of life. And if I were asked to choose one word which holds the key to my work I would select ‘light’ – for light is my language, and it is international, readily understood by any person of any race. It has been my good fortune to welcome before my camera many great men and woman who have made their mark on our generation and will find a place in history. I feel that my life’s work is to interpret the best of my ability, the inner strength, the true character, of these personalities, through the medium of photographic portraiture. I can think of no elation equal to that when something close to my ideal is achieved, through necessarily there must always be a spark of what I call ‘divine discontent’ – the constant striving for near-perfection. In this self-appointed task, which also carries, I believe, a great sense of responsibility, the medium of light is all important. It is the portraitist’s chief tool, and he can never learn enough about it. ‘
IDEA: Do something similar to his work with the portraits and lighting.