Photography is space, light, texture, of course, but the really important element is time - that nanosecond when the image organizes itself on the ground glass.
[I]n general, my work is less about expanding the possibilities of photography than about re-investing it with a truer perception of things by returning to a simple method, one that photography had from the beginning of its existence.
The portrait is the subject matter in photography where the problems of the media are the most visible.
I think the best way to put it is that newspictures are the noun and the verb; our kind of photography is the adjective and adverb. The newspicture is a single frame; ours, a subject viewed in series. The newspicture is dramatic, all subject and action. Ours shows what's back of the action.
I don't like the discussions about whether photography is an art. Even though I think that if it would be just a craft I would not have stayed with it all my life.
Literature especially has an interesting relationship to photography - to observation, to description, to fiction: taking something that you see and elaborating, jamming, and I think, staging.... taking that moment of observation and letting it go, giving it some wings, following it, rather than nailing it. You're riffing off of reality.
In this, photography is the same thing as love. When my gaze, diving into the sea as my subject, converges with the act of photography, hot sparks fly at the point of intersection.
In short, [photography] is a matter of turning loneliness into thoughts.
Photography means releasing oneself from one type of gravity and placing oneself in a space where a different force is trying to move you.
Poetry is my first love. Photography often fails to look into things. It looks at things. Poetry is so much more truthful.
Photography is my method for defining the confusing world that rushes constantly toward me. It is my defensive attempt to reduce our daily chaos to a set of understandable images.
Perhaps why so much of today's photography doesn't grab us or mean anything to our personal lives is that it fails to touch upon the hidden life of the imagination and fantasy, which is hungry for stimulation.
I had my young eyes opened by the impersonal blood and guts of news photography. I was running the gamut every low man on the totem pole runs - country clubs to mass murder.
Photography is like a river with a thousand streams that never converge.
Photography is a very forgiving medium. Anybody that can afford film and a camera can make pictures.
I came to photography with the desire to conquer this machine, the camera, and make it my slave. Instead, I have now a respect for it and all machines as expanders of my awareness.
... the possibility of one particular photographer's pictures lying around the corner is never realized until the photographer is there. It's one of the enigmas of photography.
[Photography] underlines the photographer. That's the Barthesian this has been. Well, this has been for the photographer as well. The photographer is the hidden placeholder in the Barthesian equation.
Photography ruins marriages, and I've been married three times - so there's a downside to it as well.
Part of the fascination that photography holds is its ability to unlock secrets kept even from ourselves. Like dreams, the photograph can uncork a heady bouquet of recognition which can escape into the cognitive world.
In my view, photography and painting really share one history. The influences that work on one, work on the other.
The aesthetic discussion of photography is dominated by the concept of time. Photographs appear as devices stopping time and preserving fragments of the past, like flies in amber.
Photography is motionless and frozen, it has the cryogenic power to preserve objects through time without decay.
The lover of photography is fascinated both by the instant and by the past. The moment captured in the image is of near-zero duration and is located in a ever-receding then. At the same time, the spectator's now, the moment of looking at the image, has no fixed duration. It can be extended as long as fascination lasts and endlessly reiterated as long as curiosity returns.
For photography to be an art involves reformulating notions of art, rejecting both material and formal purism and also the separation of art from commerce as distinct semiotic practices that never interlock.
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