Stop and go: always on some journey. My bounty is a photograph or two.
I got a job in the tear-sheets department, ripping up magazines like People, Fortune, Sports Illustrated, and Time, and delivering the editorial pages.... So I began to use a camera to make fake photographs of the ads. By re-photographing a magazine page and then developing the film in a cheap lab, the photos came out very strange.
When you look at pornography, the women become objects, whereas what I'm trying to do is make the person in the photograph as important as their body. And obviously, I like tits and arse, because I just do. I like the sex of taking photographs.
At the end of the day, it's only a photograph and if someone is going to get really upset about a photograph, then they have a lot of issues. I just roll with it and see what happens.
I always used to say to my ex-girlfriends that I could never take a good photograph of them, because there was too much of an intimacy between us, but actually the real thing is, if there's a proper intimacy between you... I find it really compelling and exciting - it's quite good foreplay.
Let us... leave art to the artists, and let us try to use the medium of photography to create photographs that can endure because of their photographic qualities.
I can photograph someone if I can touch them.
...it is pretentious for photographers to believe that their pictures alone change things. If they did, we wouldn't be besieged by war, by incidents of genocide, by hunger. A more realistic assessment of photography's value is to point out that it is illustrative of what's going on, that it provides a record of history, that photographs can prompt dialogue.
I wanted to put reality in my photographs. Sex, drugs and rock 'n' roll. That's what was happening. And I was going to help make it happen. Boy, they did not want that in America.
The photograph that discovers and uncovers the world is harder to simulate than an image that simply illustrates one's ideas about it.
We have to tell people how images are made. And, the first step is to abandon the idea we're looking at photographs. We're looking at entry points to information and to the world in which the image was made.
We have faith in the photograph not only because it works on a physically descriptive level, but in a broader sense because it confirms our sense of omnipresence as well as the validity of the material world.
The decisive moment, the popular Henri Cartier-Bresson approach to photography in which a scene is stopped and depicted at a certain point of high visual drama, is now possible to achieve at any time. One's photographs, years later, may be retroactively rephotographed by repositioning the photographer or the subject of the photograph, or by adding elements that were never there before but now are made to exist concurrently in a newly elastic sense of space and time.
The question is not whether a picture is good, in some formal, technical sense, but, does it mean what I need it to mean? Writers can edit sentences that may be well-crafted but that don't express an intended thought. But in photography, there are no revisions: A photograph is in or it's out, and the photographer must live with the consequences of his or her choices.
I approached photography the only way that I knew how to approach anything: as a job. I would get up, photograph all morning, stop and have lunch, and then, photograph all afternoon. I didn't think that I had to wait for some inspiration.
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.
In my philosophy, the meaning of life derives from the people one has known and loved. I have met my share of evil people and know what they are capable of - I was at the liberation of Dachau - but I have always held that evil is not inherent in men and women. I still believe that within a caring society, only the best people will flourish. That is the spirit that has moved me to photograph.
The question at hand is the danger posed to truth by computer-manipulated photographic imagery. How do we approach this question in a period in which the veracity of even the straight, unmanipulated photograph has been under attack for a couple of decades.
How useful are documentary photographs if there is no follow up, no way of knowing what happened next in the story?
...a photographer must be aware of and concerned about the words that accompany a picture. These words should be considered as carefully as the lighting, exposure and composition of the photograph.
After I have photographed the way I like to, I feel as I might if I had been making love all day, marvelous and exhausted and wanting to collapse on the floor in a heap. That's why I can't photograph just anybody, and why it's so hard to photograph people on assignment; it's like going to bed with someone not of my choosing.
What is a photograph? For me, a fragment of quick-silver, a lucid dream, a scribbled note from the subconscious to be deciphered, perhaps, over years. It is a monologue trying to become a conversation, an offering, an alibi, a salute.
I believe that photography can only reproduce the surface of things. The same applies to a portrait. I take photographs of people the same way I would take photographs of a plaster bust.
Photographs are still always depictions, it's just that for my generation the model for the photograph is probably not reality any more, but images we have of that reality.
I received my training at an art academy, so what I produce is art. That's what is artistic about my photographs.
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