If I only try to solve the problems I set for myself, then I'm limited by what I can conceive of. I can't solve a problem I can't conceive. But if someone else gives me a visual problem, it can be out of the whole realm of my normal practice.
I don't know how much a photograph can add to a biography, the way a film or writing or narrative medium could. Because it's a frozen image.
I'm not interested in doing the same kind of picture over and over again. I pose problems for myself. Sometimes they are aesthetic problems and sometimes they are logistical problems.
A work can do many things at once, and it doesn't have to be just about the world, it could also be about photography, it could be about perception, it could be an exploration of the medium. It could be a document, it could be a visual poetry, and it could be a formal exploration all at the same time.
I realize that as I get more experience as I get older, my perception changes and that feeds the photograph.
I think most serious photographers understand that there's this large gap between the world and how the world looks through a photograph.
There's something essentially fictive about a photograph. That doesn't mean that if you understand that, and you understand how the world is transformed by the camera, that you can't use the limitations or the transformation to have an observation that is a very subtle perception of the world.
A lot of the photography I'm doing and thinking about is directed at Instagram.
I think I misunderstood Instagram and just thought it was people photographing their friends, and discovered there were a number of people, a number of artists, who were taking it very seriously and doing very imaginative work with Instagram as the medium.
I've been the head of the photography program at Bard College for over 30 years, and I take that as seriously as I do my photography. My time is devoted to that too.
I'm always interested in finding new aesthetic problems to deal with and challenge myself, even if the aesthetic problem is one of content.
The danger is that you can wind up doing tourist pictures. I want to see it fresh and see the little bits of everyday life that a native might take for granted, but that are special to the place, while at the same time, not taking a picture that would be a tourist cliché.
As not a native, I have the advantage of not seeing scenes habitually. I can see things fresh.
I know that people think of my work from the '70s as American, but I've been going to other places for a long time.
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