Robert Doisneau
[Photographer, b. 1912, Gentilly, Val-de-Marne, France, d. 1994, Montrouge, France.]

 For a photographer, the first 70 years are a bit difficult, but after that things get better. 
 The marvels of daily life are exciting; no movie director can arrange the unexpected that you find in the street. 
 A hundredth of a second here, a hundredth of a second there—even if you put them end to end, they still only add up to one, two, perhaps three seconds, snatched from eternity. 
 The best photos, the ones that are remembered, are the ones that have first passed through the person’s mind before being restored by the camera. 
 Photography is very subjective. Photography is not a document on which a report can be made. It is a subjective document. Photography is a false witness, a lie. 
 I prefer my hesitations, my false paths, my stammering, to a preconceived idea. 
 You know, they always say that the photographer is “a hunter of images.” That is a flattering image, the idea of a hunter, it’s virile, acquired power. Actually though, it isn’t that. We are really fishermen with hooks and lines. 
 The photographer must be absorbent—like a blotter, allow himself to be permeated by the poetic moment... His technique should be like an animal function... he should act automatically. 
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