There is a considerable amount of manipulation in the printmaking from the straight photograph to the finished print. If I do my job correctly that shouldn't be visible at all, it should be transparent.
"It is light that reveals, light that obscures, light that communicates. It is light I "listen" to. The light late in the day has a distinct quality, as it fades toward the darkness of evening. After sunset there is a gentle leaving of the light, the air begins to still, and a quiet descends. I see magic in the quiet light of dusk. I feel quiet, yet intense energy in the natural elements of our habitat. A sense of magic prevails. A sense of mystery. It is a time for contemplation, for listening - a time for making photographs. "
I collect rare photographs... I have two... One of Houdini locking his keys in his car... the other is a rare picture of Norman Rockwell beating up a child.
I would love to photograph Angelina Jolie. A friend of mine is working with her on her next film and told me what I was already suspecting, that she is extremely interesting. I have never seen a picture of her that conveys all of her complexity. That would be a fabulous challenge, to find that in a photograph.
During the winter when the weather is too poor to work outside, I do use drawings and photographs, but I change my work so it is not just a time and place study.
I remembered seeing it and it was this metallic turbine and I thought it was beautiful. I had never been in a power plant before, but I felt, without being overly dramatic, compelled to make photographs of this for myself.
I like to put a single photograph in different contexts, to see how it takes on other meanings, how being locked in a new dialogue exposes another potential. It's like dating other people in order to get to know yourself.
I think we get into all kinds of difficulty by saying photographs should be taken in a certain way which guarantees their veracity. I think that's a slippery slope to hell.
A very faithful drawing may actually tell us more about the model but despite the promptings of our critical intelligence it will never have the irrational power of the photograph to bear away our faith.
[The photograph] is the object itself... [It] shares, by virtue of the very process of its becoming, the being of the model of which it is the reproduction; it is the model.
It takes me a long time to change. I don't think you can just go out and figure out a bunch of visual ideas and photograph. The change happens in living and not through thinking.
... a fact about photography: we can look at people's faces in photographs with an intensity and intimacy that in life we normally only reserve for extreme emotional states - for a first look at someone we may sleep with, or a last look at someone we love.
Boy George has been charged with falsely imprisoning a man who'd gone to his apartment to pose for photographs. Going to Boy George's house to get your picture taken is like going to David Copperfield's island for a radio opportunity.
Permanence can only be found in the immortality offered by the click of a camera. Like it or not, life moves on as fleetingly as the photograph is enduring.
A photograph for me does not have a sense of spiritual seduction, it does not have an essence, that this is something that permeates and which is eternal through time.
Some people... cling to the idea that the photograph is an inherently real or honest image and as such is always on a different plane from an obviously subjective form of visual communication such as painting.
I enjoyed learning something and, uh, so I think like with anything in life, in the schoolroom in an artistic endeavor, if you have just a really good teacher, it's inspiring. I certainly use, in my work, I mean, I used to rely heavily on imagery. I was obsessed with this photograph that was in the NY Times of a fish engulfing a smaller fish and this smaller fish had this look in its eyes; it knew what was about to happen and, I don't know how they ever captured such an image, but I've used that for a play I (did). It's called "Saved."
When you're somebody who has the pretension to make art, it's completely different from when someone else says I want to make a book of your art. You don't decide the title, you don't decide the size, the order of the photographs . . . so it's completely out of control!
Photographs have a relevance for things that cannot be said.
We feel more emotion... before an amateur photograph linked to our own life history than before the work of a Great Photographer, because his domain partakes of art, and the intent of the souvenir-object remains at the lower level of personal history.
I don't think that there's that much difference between a photograph of a fist up someone's ass and a photograph of carnations in a bowl.
Always, when the words art and artistic are applied to my photographic work, I am disagreeably affected. This is due, surely, to the bad use and abuse made of those terms. I consider myself a photographer, nothing more. If my photographs differ from that which is usually done in this field, it is precisely because I try to produce not art but honest photographs, without distortions or manipulations.
... anybody who has spent time with cameras and photographs knows that images, like gravestone rubbings, are no more than impressions of the truth.
I don't particularly care about photographic authorship. Whether an astronaut who doesn't even have a viewfinder makes an image, a robotic camera, a military photographer, or Mike Light really doesn't matter. What matters is the context of the final photograph and the meaning it generates within that context.
I feel totally responsible for what I see. I feel totally responsible for what I photograph.
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