The photographer has almost as much control over his subject matter as a painter. He can control light and shade, form and space, pattern and texture, motion and mood, everything except composition.

Human vision is untrustworthy, subjective and selective. Camera vision is total and non - objective.

The photographer has almost as much control over his subject matter as a painter. He can control light and shade, form and space, pattern and texture, motion and mood, everything except composition.

As an amateur you have an advantage over photographers - you can do as you wish... This should make amateurs the happiest of photographers.

With a short lens I can reveal the hidden things near at hand, with a long lens the hidden things far away. The telephoto lens provides a new visual sensation for people: it widens their horizons. And, conversely, the things under our nose invariably look good when blown up really big.

The camera can push the new medium to its limits - and beyond. It is there - in the "beyond" - that the imaginative photographer will compete with the imaginative painter. Painting must return to the natural world from time to time for renewal of the artistic vision. The key sector of renewal of vision today is the new vistas revealed by science. Here photography, which is not only art but science also, stands on the firmest ground.

Once a photographer is convinced that the camera can lie and that, strictly speaking, the vast majority of photographs are camera lies, inasmuch as they tell only part of a story or tell it in distorted form, half the battle is won. Once he has conceded that photography is not a naturalistic medium of rendition and that striving for naturalism in a photograph is futile, he can turn his attention to using a camera to make more effective pictures.