Lubo Penev is a fighter, he never gives up and remains cool during tough moments. I remember when he was sick with cancer, but fought and returned to football. Most people would have given up and prayed to God for mercy. (on former teammate Luboslav Penev)
I try to live in the moment, but by the time I get there it's too late.
In my photographic work I was always especially entranced... by the moment when the shadows of reality, so to speak, emerge out of nothing on the exposed paper, as memories do in the middle of the night, darkening again if you try to cling to them.
When you're on stage performing stand-up, things only happen one time. I've done bits where I improv a joke, and people are dying. The next show, I try to repeat it, I can't do it. Because with the first audience that was our moment. It can't happen the same way again. We were all there: a certain type of people were at that show and we all got it.
There's a lot of particularly good things going on in my life at the moment. It's the fact that I get to be an ambassador for the concept of modernity. I can be creative and useful. And I don't have to grow up.
Taking a moment and a deep breath. Im truly thankful for everything life has shown me so far in my 20 years. I am so blessed. Just wow.
One thing is that life's great moments evolve from simple acts of cooperation with God's mysterious promptings-nudges that always lean toward finding what's been lost and freeing what's been enslaved .
A gentleman who for reasons of chivalry I shall not mention, but who occupied grand office, and who had taken grandly of wine and allowed veritas to overcome him, went up to the Prime Minister and told her he had always fancied her, to which the Prime Minister replied, "Quite right - you have very good taste but I just don't think you would make it at the moment.
I am fascinated by the indecisive moment and the peripheral view.
We build our lives in moments, and even the ones we can't remember become the story of who we are.
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 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.
[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.
Subject matter comes to you, you don't go to it... Although I shoot extemporaneously a lot of the time, I prefer to have half a dozen shots in my mind. Probably I have seen them many times under different conditions and I have been thinking about them. The moment shall come when I shall go back to them and make the photographs.
I think what makes a picture is a moment that is completely spontaneous and natural and unaffected by the photographer.
I do not understand what makes me take a picture. Cartier-Bresson talks about the decisive moment, the necessity to function with lynx eyes and silk gloves. Perhaps what happens when you press the shutter is an intuitive act infused with all you have learned.
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.
So much of what we know, and what we think we know, about the land has first passed through someone's lens. The interesting thing is to make use of this history, not merely to be absorbed into it. For me, landscape photographs begin as the artifacts of personal moments. They get interesting when they become cultural commentary.
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.
[My mother] died a few months ago, and when she was dead I kissed her lips. For me it was a beautiful moment. From then on I started living with her, asking her from time to time if she was alright, if she was pleased with me. But these things are far greater than photography, and I probably shouldn't be speaking about them.
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.
The thought for us [street photographers] was always: How much could we absorb and embrace of a moment of existence that would disappear in an instant? And, Could we really make it live as art? There was an almost moral dimension.
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.
As a relentless gatherer of moments, I find that my favorite images, although grounded in the present, are like spirits shaped by memories. They whisper of fairy tales, poetry, and other lives, as each gesture connects with another and raises yet another from the dead. Shadows flicker on film to an inner melody as I navigate, camera at hand and at the speed of light, through unimaginable worlds - desperately trying to make sense of the joy and suffering before it all disappears.
Most of my photographs were taken on the spur of the moment, very quickly, just as they occurred. All attention focuses on the specific instant, almost too good to be true, which can only vanish in the following one.
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