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“If a photograph is to communicate its subject in all its intensity, the relationship of forms must be rigorously established. Photography implies the recognition of a rhythm in the world of real things. What the eye does is to find and focus on the particular subject within the mass of reality; what the camera does is simply to register upon film the decision made by the eye.
We look and perceive a photograph as we do a painting, in its entirety and all in one glance. In a photograph, composition is the result of a simultaneous coalition, the organic coordination of elements seen by the eye. One does not add composition as though it were an afterthought superimposed on the basic subject material, since it is impossible to separate content from form. Composition must have its own inevitability about it.
In photography there is a new kind of plasticity, the product of instantaneous lines made by movements of the subject. We work in unison with movement as though it were a presentiment on the way in which life itself unfolds. But inside movement there is one moment at which the elements in motion are in balance.
Photography must seize upon this moment and hold immobile the equilibrium of it.”