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 believe that you've got to love your work so much that it is all you want to do.
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.
Snapshots that have been taken of me working show something I was not aware of at all, that over and over again I'm holding my own body or my own hands exactly like the person I'm photographing. I never knew I did that, and obviously what I'm doing is trying to feel, actually physically feel, the way he or she feels at the moment I'm photographing them in order to deepen the sense of connection.
The good photographer will produce a competent picture every time whatever his subject. But only when his subject makes and immediate and direct appeal to his own interests will he produce a work of distinction.
Photographers should follow their own judgment, and not the fads and dictates of others.
Inquiry is more important than answers, for it is the questions we ask and the way in which we ask them that defines us.
How do we know what we know? Is seeing believing? Is believing seeing?
The most important question is, 'Am I asking the most important question?' The second most important question is, 'Am I asking the most important question in the most important way?'
Don't ask 'Should I ...?'. Instead, 'Ask what happens if I ...?'
Every photograph is altered, to one degree or another.
Images are altered in many ways, to many degrees, and for many reasons, so it's important for viewers to be informed of both.
It's important that we regularly reconsider, revise, and expand our practices, as our capabilities and needs evolve, both to strengthen our understanding of them and to promote our awareness of new practices and their conscientious uses.
We don't have enough words for photography. Can you imagine writers having only one word for writing?
Listen carefully. The way(s) we speak about things is revealing.
Many times we are tempted to defer to the documents we create, rather than the direct experiences we have.
Very often there is too little information in photographs to deduce how they were made and even what they represent. We rely on context and supplemental information to confirm our observations, not simply the documents themselves.
Different people can photograph the same things with the same tools and create such different images.
The frame frames a frame of mind.
We see the world through our experience.
Photography extends our perception allowing us to see and experience more - second hand.
Photographs are never records of the way things are; they're records of the way things were.
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