There is one thing the photograph must contain, the humanity of the moment. This kind of photography is realism. But realism is not enough - there has to be vision, and the two together can make a good photograph.
I didn't choose photography. Photography chose me.
Leica, schmeica. The camera doesn't make a bit of difference. All of them can record what you are seeing. But you have to see.
Today everything exists to end in a photograph.
I don't trust words. I trust pictures.
In my mind's eye, I visualize how a particular... sight and feeling will appear on a print. If it excites me, there is a good chance it will make a good photograph. It is an intuitive sense, an ability that comes from a lot of practice.
They used to photograph Shirley Temple through gauze. They should photograph me through linoleum.
Photographs that transcend but do not deny their literal situation appeal to me.
I began to realize that the camera sees the world differently than the human eye and that sometimes those differences can make a photograph more powerful than what you actually observed.
I treat the photograph as a work of great complexity in which you can find drama. Add to that a careful composition of landscapes, live photography, the right music and interviews with people, and it becomes a style.
Light makes photography. Embrace light. Admire it. Love it. But above all, know light. Know it for all you are worth, and you will know the key to photography.
I photograph what interests me. I'm not saying anything different.
A good snapshot stops a moment from running away.
I want a History of Looking. For the Photograph is the advent of myself as other: a cunning dissociation of consciousness from identity. Even odder: it was before Photography that men had the most to say about the vision of the double. Heautoscopy was compared with an hallucinosis; for centuries this was a great mythic theme.
It is one thing to photograph people. It is another to make others care about them by revealing the core of their humanness.
The photographer's intentions do not determine the meaning of a photograph, which will have its own career, blown by the whims and loyalties of the diverse communities that have use for it.
I expect photographs to find me. I never thought of looking for them. I instinctively put them there. My intellect had nothing to do with it.
I've been collecting photographs since I don't know when, for a long time, for different reasons. You can find them on eBay and when we were browsing through the shops there were images that attracted me. These are all historical images because these days they're all digital. They don't exist anymore.
My dream concept is that I have a camera and I am trying to photograph what is essentially invisible. And every once in a while I get a glimpse of her and I grab that picture.
Your first 10,000 photographs are your worst.
I've never been on safari because I've got a phobia of bugs. I just don't want things crawling on me when I'm sleeping. It's a shame given my passion for big cats. But I really enjoy photography, so I'd love to photograph leopards in the wild some day.
I do tend to look at my books in many ways as conceptual fiction, even to the point where I think the author's photograph is part of the package. And I have gone out of my way to select the photograph to connect to the subject matter of each book.
For all the textbook reasons - any individual's reading of a photograph is preceded by the evidential authority of the medium. You have the literalness of a glass on a table - and at the same time of that evidential authority that you can't get around, there is the possibility of universalizing the subject - of getting the whole world into the picture.
The thing about photography is, some people surround themselves with extremely strong subject matter. And unless you're a moron, you're going to get a really strong photograph.
One teacher told me that my work belonged in the trash. That day I ran out of the classroom and ended up in the library, where there happened to be a black and white photography exhibition of Robert Rauschenberg's photographs of the streets of New York. The subject of his photos were exactly what I was painting about.
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