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"The more you become involved in photography the more you realize that the photographic print is an event and experience in itself, not just a record of what was happening in front of the camera. The photograph should not be expected to mirror truth, because ‘truth’ in visual terms is always subjective.” ― Paul Hill, (‘Chapter Two: After the Shutter is Pressed’, Approaching Photography, 2nd Edition, 2004, Photographers' Institute Press, ISBN 1 86108 323 8, p40)

— Approaching Photography by Paul Hill (Page 40)

"One of the first things to strike you when looking closely at photographs is the ambiguity of the medium. Some objects appear completely different to what you know they were in reality. For example, people reflected in a furniture shop window can seem to be walking on a sofa, or the strange play of light on the face of a kind old lady can turn her into a hideous crone.

It is very easy to miss these things at the time, especially if your eye was concentrating on other compositional features, or if you were eagerly following the event or incident that was your main subject. Remember that a photograph shows what the camera records, not what you thought you saw. "

Paul Hill, ‘Chapter Two: After the Shutter is Pressed’, Approaching Photography, 2nd Edition, 2004, Photographers' Institute Press, ISBN 1 86108 323 8, p38”

— Approaching Photography by Paul Hill (Page 38)

"“In conventional photography, you cannot make an image of what is not there.” ― Paul Hill, (‘Chapter Two: After the Shutter is Pressed’, Approaching Photography, 2nd Edition, 2004, Photographers' Institute Press, ISBN 1 86108 323 8, p28)"

— Approaching Photography by Paul Hill (Page 28)

"A continuous awareness of light, from the aesthetic as well as the technical point of view, is vital in photography. When you go into a room, judge how the light is falling, estimate the light reading (confirm this with your exposure meter later) and assess the probable photographic tones and shapes ’ of whatever you look at. You should continually try to heighten your awareness of what is going on around you, and of your own reactions and feelings towards people, things and events. The camera should be an ever-present part of your life available to be used at any time and anywhere. ” ― Paul Hill, (‘Chapter One: Seeing and Thinking Photographically’, Approaching Photography, 2nd Edition, 2004, Photographers' Institute Press, ISBN 1 86108 323 8, p34)

— Approaching Photography by Paul Hill (Page 34)

"The close-up abstracts by cutting out the extraneous information through careful framing. You may want to take a close-up photograph of an institutional building to convey monumentality or coldness. With the detail of a gnarled tree you may wish to express delicate sensuality or painful convulsions. A caption (or title) can help direct the viewer to an understanding of your metaphoric intent, but should never become a substitute for it. You should always aim to express the metaphor visually by careful use of exposure, juxtaposition of objects, and lighting.” ― Paul Hill, (Paul Hill, ‘Chapter One: Seeing and Thinking Photographically’, Approaching Photography, 2nd Edition, 2004, Photographers' Institute Press, ISBN 1 86108 323 8, p27)

— Approaching Photography by Paul Hill (Page 27)

"“When making an exposure, always try to imagine the resulting print in your mind’s eye. By doing this you can avoid problems later.” ― Paul Hill, (Paul Hill, ‘Chapter One: Seeing and Thinking Photographically’, Approaching Photography, 2nd Edition, 2004, Photographers' Institute Press, ISBN 1 86108 323 8, p25)"

— Approaching Photography by Paul Hill (Page 25)

"“There are no rules that say you should not give the illusion of strange things growing out of people’s heads. As a two dimensional record of reality, the photographic print is an illusion anyway.” ― Paul Hill, (‘Chapter One: Seeing and Thinking Photographically’, Approaching Photography, 2nd Edition, 2004, Photographers' Institute Press, ISBN 1 86108 323 8, p23)"

— Approaching Photography by Paul Hill (Page 23)

“The camera frame gives the illusion of being a window through which the photographer views the three-dimensional world, but negatives and prints are two-dimensional. In a photograph, the clouds, the horizon and the ground are all on the same plane. Our perceptual faculties can, of course, make three-dimensional sense of this spatial disparity while looking at a print. When making the photograph, you must be conscious of the fact that the objects in the picture will be flat shapes, and that you are responsible for the placement of these shapes within the frame. By changing your angle of view and viewpoint you can manoeuvre these forms around the frame almost as if they were cut-outs in a collage. ” ― Paul Hill, (‘Chapter One: Seeing and Thinking Photographically’, Approaching Photography, 2nd Edition, 2004, Photographers' Institute Press, ISBN 1 86108 323 8, p20)

— Approaching Photography by Paul Hill (Page 20)

"There's no law that says the world should be seen from a level between five and six feet above the ground.” ― Paul Hill, (Chapter One: Seeing and Thinking Photographically', Approaching Photography, 2nd Edition, 2004, Photographers' Institute Press, ISBN 1 86108 323 8, p18)

— Approaching Photography by Paul Hill (Page 18)

“When you take a photograph, you isolate a segment of the world as if you were placing a frame over the part that interests you. Framing a photograph is a subjective act because you include what you want and exclude what you consider unnecessary. The frame of the viewfinder and the type of lens used dictates what you see photographically.” ― Paul Hill, (‘Chapter One: Seeing and Thinking Photographically’, Approaching Photography, 2nd Edition, 2004, Photographers' Institute Press, ISBN 1 86108 323 8, p15)

— Approaching Photography by Paul Hill (Page 15)

"Photography is about communicating ideas and experience as well as information. The camera anchors you to specific locations and concepts, which makes it a superb tool for exploring, observing and representing both the external world and internal reactions to it. In my opinion, only a lens-based medium like photography can do this successfully. ” ― Paul Hill, (‘Introduction’, Approaching Photography, 2nd Edition, 2004, Photographers' Institute Press, ISBN 1 86108 323 8, p11)

— Approaching Photography by Paul Hill (Page 11)

"The enemy of photography is the convention, the fixed rules of ‘how to do’. The salvation of photography comes from the experiment.” ― László Moholy-Nagy, (Quoted in Paul Hill, ‘Introduction’, Approaching Photography, 2nd Edition, 2004, Photographers' Institute Press, ISBN 1 86108 323 8, p11)

— Approaching Photography by Paul Hill (Page 11)

“As a photographer you have to point your camera at things that actually exist. You therefore have a marvellous opportunity to interpret the world for yourself rather than represent the ideas and prejudices of others.” ― Paul Hill, (‘Introduction’, Approaching Photography, 2nd Edition, 2004, Photographers' Institute Press, ISBN 1 86108 323 8, p10)

— Approaching Photography by Paul Hill (Page 10)

“Photography is not about focal lengths, film speeds and f-stops, it is about images: what you point your camera at, what you include within its viewfinder, what image you make into a print, and what context you place that photograph in.” ― Paul Hill, (Introduction', Approaching Photography, 2nd Edition, 2004, Photographers' Institute Press, ISBN 1 86108 323 8, p9)

— Approaching Photography by Paul Hill (Page 9)

“Once technical success is guaranteed, and manufacturers ensure that it is, photographers soon realize that taking photographs for their own sake has little meaning. It’s a little like perfecting the technique for dovetail joints but not knowing what it is you want to make. There has to be some purpose to it all.” ― Roger Taylor, (Foreword', Approaching Photography, 2nd Edition, 2004, Photographers' Institute Press, ISBN 1 86108 323 8, p7)

— Approaching Photography by Paul Hill (Page 7)