Whenever I am tired of making photographs of drawings, I make drawings of photographs.
Never pose your subjects. Let them move about naturally... All great photographs today are snapshots.
I do photograph things for people to look at 100 years from now. But we're such a mediated society that things become historical the next day.
How useful are documentary photographs if there is no follow up, no way of knowing what happened next in the story?
My mother said that when I was young I was constantly saying, Look at this - Look at that. I think that taking pictures must be my way of asking people to Look at this - Look at that. If my photographs make the viewer feel what I did when I first took them - Isn't this funny... terrible... moving... beautiful? - then I've accomplished my purpose.
My photographs are not just about the instant of movement you capture in the camera. It's much more total, about constant movement that became static.
[A photograph] should do something to the beholder; either give a more complete appreciation of beauty, or, if nothing else, even a good mental kick in the pants.
[The photograph] is fabricated out of the unfabricated dross of passing life (while paradoxically still trading on the indexical heft of that dross).
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.
Ansel [Adams] always jumped over the fence to photograph, walked past the garbage. He always looked to get an immaculate view, and I spent my life stepping back to include the garbage in my photographic view.
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.
Language is a very complicated thing, and that's one of the reasons why I like making photographs.
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.
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.
When we were kids, growing up in the sixties, the only images we had of ourselves were either still photographs or 8mm movies.... Now we have video, digital cameras, MP3s, and a million other ways to document ourselves. But the still photograph continues to hold a sense of mystery and awe to me.
The photograph that discovers and uncovers the world is harder to simulate than an image that simply illustrates one's ideas about it.
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.
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.
...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.
Even an ugly, abject photograph bears the recording of its making... my goal [is] to create dense objects, works in which many lines of thought converge.
You cannot explain the whole world in one photograph. Photography pretends. You can see everything that's in front of the camera, but there's always something beside it.
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