Best 80 quotes of Jay Maisel on MyQuotes

Allow yourself to lose your way.

All these factors are only valuable if you're curious. But in any case, the more knowledge you have, the more things are open and available to you.

Always carry a camera, it's tough to shoot a picture without one.

Always shoot it now. It won't be the same when you go back.

Always wait for the trigger. The trigger is the final part of the puzzle, the reason you want to shoot.

A photographer's art is more in his perceptions than his execution. In a painter, I think the perception is only the first step, and then you have a kind of hard road of execution.

As people, we love pattern. But interrupted pattern is more interesting.

As you see something that yo want to shot and it's bearing down on you, it's important to start framing long before the subject gets close to you. The light will reveal itself possibly long before you want to take the image, but you have to wait until the picture comes to you, and if you've been anticipating carefully when the subject will be in position, the background will have been figured out in advance.

Be aware of every square millimeter of your frame.

'Color' is quite different from 'colors.' In an image with many colors, we find that all the colors compete with each other rather than interacting with each other. The results" colors.

Color is seductive. It changes as it interacts with other colors, it changes because of the light falling upon it, and it changes as it becomes larger in size.

Color really doesn't have interaction if it's full of colors. It's the interaction or relationship among or between colors that makes a color image. This usually happens with a few colors, not a glut of them.

Don't overthink things in front of you. I fit moves you, shoot it. If it's fun, shoot it. If you've never seen it before, shoot it.

Each picture you take has power as long as it brings experience to the person who’s looking at it.

Every picture should have a place you can go, a home, a climax.

First, perseverance trumps talent. Second, do what you want to do, otherwise why bother? Third, be ethical; it might rub off on others. Fourth, don't give up.

Forget what it was. Look at what it is.

Gesture is not always action.

Gesture will survive whatever kind of light you have. Gesture can triumph over anything because of its narrative content.

Had I not been told to look, I would have quite, ignorant of what was really there, because I had 'made plans' and was wearing visual and emotional blinders that limited my perceptions and my vision.

I don't see light as something that falls, but as a positive force.

If the light is great in front of you, you should turn around and see what it is doing behind you.

If you are out there shooting, things will happen for you. If you're not out there, you'll only hear about it.

If you can capture the element of surprise, you're way ahead of the game.

If you don't have a camera, the best thing you can do is describe how great it looked.

If you're not shooting in the right direction, it doesn't matter how well you're shooting.

If you're not your own severest critic, you are your own worst enemy.

If you want to make more interesting pictures, become a more interesting person.

I love when pictures ask questions or make others ask questions.

I'm a New Yorker. I don't believe in air unless I can see it.

I take pictures, and they are there for the taking. I'll tell you a quote that I have always thought about. Arthur Miller said, I try to create the poem from the evidence.

I try not to tell students where to shoot, when to shoot, or what to shoot. I feel finding the picture is the most important part of being a photographer. The actual shooting is of lesser importance.

It's a lot easier to take pictures if you always have the camera with you.

It's always around. You just don't see it.

It's important to realize that the images are everywhere, not just where you want or expect them to be.

It's my obligation to take out all the 'wrong' pictures.

I want to go out as unprepared as possible so I can get filled up with what the world has to offer.

Keep your mind open. You may very well learn something new about yourself and your pictures.

Light gesture and color of the key compliments of any photograph. Light and color are obvious, but it is just her that is the most important. There is gesture in everything. It's up to you to find a gesture that is most telling.

Money and fame that photography can bring you are wonderful, but nothing can compare to the joy of seeing something new.

Never put lettering in your photos unless you want it read.

Never say you're going back - SHOOT IT NOW!

One color alone means nothing. I acts as in a vacuum, with no other colors to relate to. It is only when colors relate to other colors that the fun begins.

Photography is an act of love.

Remember that most people (those who are not photographers) don't even see the things that you missed. Many don't even look. Ergo, you are way ahead of the game.

Since the background is as important as the subject, you mustn't let it default by chance. You must control not only vertical and horizontal, you must be aware of the depth of field (or lack of it) that you want in the background.

Some have said that if you take a great picture in color and take away the color, you'll have a great black-and-white picture. But if you're shooting something about color and you take away the color, you'll have nothing.

Sometimes as you work, you find that you are learning things about your own perceptions and motivations that are way below you consciousness. If you get lucky, you recognize what you are doing, but all too often we don't find the connection between our work and our own motivations.

Sometimes without shooting a picture germinates in your head. Other times, you keep taking pictures of the same thing and watch the images mature and grow.

The awareness of the quality of space in out photos is akin to our awareness of the very air in our photos, the atmosphere that pervades every square inch of our image and yet is often invisible to the photographer.