When you take a photo at 1/1000 of a second, the moment can become an eternal fact, an eternal moment. So we have a philosophical problem of objectivity and subjectivity.
To be sure the landscape can't run away, and yet I always fear that it may. [Sometimes] I must set up my tripod, so I worry that the landscape may disappear the next second and I don't stop keeping an eye on it while I get prepared. Then, when pressing the shutter, I hold my breath. These moments are the greatest joys in my life, as if I were undressing the most beautiful woman in the world - that is, if she will allow herself be undressed. If the photo is a success, it means that she was willing. If not, it has been a lovely dream.
It seems to be extensively believed by photographers that meanings are to be found in the world much in the way rabbits are found in downs, and all that is required is the talent to spot them and the skill to shoot them... But those moments of truth for which the photographic opportunist waits, finger on the button, are as great a mystification as the notion of autonomous creativity.
Even the uncaptioned art photograph is invaded by language in the very moment it is looked at: in memory, in association, snatches of words and images continually intermingle and exchange one for the other.
I want to show the event at the very moment it takes place.... My body must be anchored to the ground and seek the best point of view, without any visual taboos. But then, at the heart of the event, my effort is to disappear, I introduce a distance that borders on indifference.
[With my photographs] you have a [single, forever fixed] moment and my particular angle of vision. My tyrannical condition, as it were, is that I prescribe your vision.
Photography is linked with death in many different ways. The most immediate and explicit is the social practice of keeping photographs in memory of loved beings who are no longer alive. But there is another real death which each of us undergoes every day, as each day we draw nearer to our own death. Even when the person photographed is still living, that moment when she or he was has forever vanished.
I think what makes a picture is a moment that is completely spontaneous and natural and unaffected by the photographer.
What I like so much about photography is precisely the moment that cannot be anticipated; one must be constantly on the alert, ready to acclaim the unexpected.
As is often said of photography, this photograph is a frozen moment. A frozen moment is not a moment at all.
I always found it rather pathetic that as a photographer I would be dependent to such a large extent on sheer luck... So the moment I was offered [digital] tools to bend the shape of the image into my choices, and not those of lady luck, I was hooked.
It is hard to avoid the aspect of time when producing what ones sees as a photograph.... my images [are] something that is not a frozen moment, but an image made up of many moments and that is created over time rather than taken.
A shudder runs through the viewer of old photographs. For they make visible not the knowledge of the original but the spatial configuration of a moment; what appears in the photograph is not the person but the sum of what can be subtracted from him or her.
Usually my 'a-ha' moments are when I'm not trying to think of how to solve a particular problem.
What appears in the pictures was the subject's decision, not mine. I took what they presented - delicate moments - unadorned and unglamorous, yet tender and exquisite.
I realized early on that artifice attracted me to an image more than any other quality - I mean artifice in the sense of staging and heightened color and exaggerated lighting, not a surreal or fictive moment... I think the lighting and feeling of Cinemascope, the movies I saw as a kid, always stayed with me as a kind of glorious vision of reality.
I think the best war photos I have taken have always been made when a battle was actually taking place - when people were confused and scared and courageous and stupid and showed all these things. When you look at people right at the very moment of truth, everything is quite human. You take a picture at this moment with all the mistakes in it, with everything that might be confusing to the reader, but that's the right combat photo.
[Photography] ties back into this feeling of wanting to watch things fall and the moment before they break. Fireworks are that way for me - this lovely thing that blows up and is gone. It all goes back to this desire to record things before they disappear - the original reason we take pictures, right?
By being fictions and, at the same moment, returning their subjects to us with a compelling fidelity, both photographs and poems work with the same surprise... both strike us as if they were simultaneously remembrances and revelations.
I am interested in marginality, in immaturity, in naïveté, in illusion, in fictions, in transitions, in the fact that at a certain moment in life there is no limit. I would like my photography to pose a question rather than make a precise statement.
All my photographs are about meetings and about coups de foudre - love at first sight. To do that type of photography, one must wipe the canvas clean to prepare for chance encounters, be open and aware to such moments, otherwise it becomes a cliché - already seen and expected.
I guess a great movie would be one that has the most great moments in it.
[Photography] remains servile to a thoughtless vision of the world... As the term snapshot suggests, photography seizes the moment and exhibits it.
The real difference between God and human beings is that God cannot stand continence. No sooner has he created a season of a year, or a time of day, than he wishes for something quite different and sweeps it all away. And human beings cleave to the existing state of things. All their lives they are striving to hold the moment fast, and are up against a force majeure. Their art itself is nothing but the attempt to catch by all means the one particular moment, one mood, one light, the momentary beauty of one woman or one flower, and make it everlasting.
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