I see pictures all the time. I could stay for hours and watch a raindrop.

— Alfred Eisenstaedt

The most useful Alfred Eisenstaedt quotes that will activate your desire to change

The important thing is not the camera but the eye.


Once the amateur's naive approach and humble willingness to learn fades away, the creative spirit of good photography dies with it. Every professional should remain always in his heart an amateur.


I enjoy traveling and recording far-away places and people with my camera.

But I also find it wonderfully rewarding to see what I can discover outside my own window. You only need to study the scene with the eyes of a photographer.


When I have a camera in my hand, I know no fear.


Never boss people around. It's more important to click with people than to click the shutter.


I seldom think when I take a picture.

My eyes and fingers react - click. But first, it's most important to decide on the angle at which your photograph is to be taken.


People will never understand the patience a photographer requires to make a great photograph, all they see is the end result. I can stand in front of a leaf with a dew drop, or a rain drop, and stay there for ages just waiting for the right moment. Sure, people think I'm crazy, but who cares? I see more than they do!


I will be remembered when I'm in heaven.

People won't remember my name, but they will know the photographer who did that picture of that nurse being kissed by the sailor at the end of World War II. Everybody remembers that.


We are only beginning to learn what to say in a photograph.

The world we live in is a succession of fleeting moments, any one of which might say something significant.


I don't like to work with assistants. I'm already one too many; the camera alone would be enough.


I have to be as much diplomat as a photographer.


The most important thing... is not clicking the shutter... it is clicking with the subject.


About Alfred Eisenstaedt

Quotes 30 sayings
Nationality American
Profession Photographer
Birthday December 6, 1898

I dream that someday the step between my mind and my finger will no longer be needed. And that simply by blinking my eyes, I shall make pictures. Then, I think, I shall really have become a photographer.


In New York’s Times Square a white-clad girl clutches her purse and skirt as an uninhibited sailor plants his lips squarely on hers.


Keep it simple.


It is more important to click with people than to click the shutter.


It's important to understand it's OK to control the subject.

If most editorial stories were photographed just as they are, editors would end up throwing most in the waste basket. You have to work hard at making an editorial picture. You need to re-stage things, rearrange things so that they work for the story, with truth and without lying.


Photographers don't need to be aggressive.

Some are. Henry Benson is aggressive - but then he's from Fleet Street. If you can talk to people, you don't need to push people around.


I want to be a mouse in a mousehole.


The way I would describe a pictorial is that it is a picture that makes everybody say ‘Aaaaah,’ with five vowels when they see it. It is something you would like to hang on the wall. The french word ‘photogenique’ defines it better than anything in English. It is a picture which must have quality, drama, and it must, in addition, be as good technically as you can possible make it.


Another picture I hope to be remembered by is this one of the drum major rehearsing at the University of Michigan. It was early in this morning, and I saw a little boy running after him, all the faculty children in the playing field ran after the boy, and I ran after them. This is a completely spontaneous, unstaged picture.


Yes, I sold buttons to earn living. But I took pictures to keep on living. Pictures are my life – as necessary as eating or breathing.


All photographers have to do, is find and catch the story-telling moment.


In a photograph a person’s eyes tell much, sometimes they tell all.


When I photographed Marilyn Monroe, I mixed up my cameras - one had black-and-white film, the other color. I took many pictures. Only two color ones came out all right. My favorite picture of Marilyn hangs always on the wall in my office. It was taken on the little patio of her Hollywood house.


Retire? Retire from What? Life? I will only retire when I am dead!


My style hasn't changed much in all these sixty years.

I still use, most of the time, existing light and try not to push people around. I have to be as much a diplomat as a photographer. People don't often take me seriously because I carry so little equipment and make so little fuss... I never carried a lot of equipment. My motto has always been, "Keep it simple".


I always prefer photographing in available light – or Rembrandt-light I like to call it – so you get the natural modulations of the face. It makes a more alive, real, and flattering portrait.


Today's photographers think differently.

Many can't see real light anymore. They think only in terms of strobe - sure, it all looks beautiful but it's not really seeing. If you have the eyes to see it, the nuances of light are already there on the subject's face. If your thinking is confined to strobe light sources, your palette becomes very mean - which is the reason I photograph only in available light.

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