Today we are confronted with reality on the vastest scale mankind has known and this puts a greater responsibility on the photographer.
I think the most beautiful inventions are the ones you don't think of.
The camera is cruel, so I try to be as good as I can to make things even.
Everybody has that thing where they need to look one way but they come out looking another way and that's what people observe.
I used to have this notion when I was a kid that the minute you said anything, it was no longer true. Of course it would have driven me crazy very rapidly if I hadn't dropped it, but there's something similar in what I'm trying to say. That once it's been done, you want to go someplace else. There's just some sense of straining.
I really try to divorce myself from any thought of possible use of this stuff. That's part of the discipline. My only purpose while I'm working is to try to make interesting photographs, and what to do with them is another act - an alter consideration. Certainly while I'm working, I want them to be as useless as possible.
It's in trying to direct the traffic between Artiface [sic] and Candor, without being run over, that I'm confronted with the questions about photography that matter most to me.
I've worked out of a series of no's. No to exquisite light, no to apparent compositions, no to the seduction of poses or narrative. And all these no's force me to the yes. I have a white background. I have the person I'm interested in and the thing that happens between us.
My photographs don't go below the surface. They don't go below anything. They're readings of the surface. I have great faith in surfaces. A good one is full of clues.
Inquiry is more important than answers, for it is the questions we ask and the way in which we ask them that defines us.
Photographers should follow their own judgment, and not the fads and dictates of others.
How do we know what we know? Is seeing believing? Is believing seeing?
Don't ask 'Should I ...?'. Instead, 'Ask what happens if I ...?'
Every photograph is altered, to one degree or another.
A photograph is worth a thousand words, provided it is accompanied by only ten words.
Realism and superrealism are what I'm after. This world is full of things the eye doesn't see. The camera can see more, and often 10 times better.
Why is Form beautiful? Because, I think, it helps us confront our worst fear: the suspicion that life may be chaos and that therefore our suffering is without meaning.
Art depends on there being affection in its creator's life and an artist must find ways, like everyone else, to nourish it. A photographer down on his or her knees picturing a dog has found pleasure enough to make many things possible.
Actually, documentary pictures include every subject in the world - good, bad, indifferent. I have yet to see a fine photograph which is not a good document.
The photographs that excite me are photographs that say something in a new manner; not for the sake of being different but ones that are different because the individual is different and the individual expresses himself.
A picture is like a prayer.
Be aware of every square millimeter of your frame.
If you can capture the element of surprise, you're way ahead of the game.
I don't see light as something that falls, but as a positive force.
As people, we love pattern. But interrupted pattern is more interesting.
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