A lot of photography is making records of people, as objects, friends. It's like organizing a wardrobe - in terms of size etc.
I discovered photography completely by chance. My wife is an architect; when we were young and living in Paris, she bought a camera to take pictures of buildings. For the first time, I looked through a lens - and photography immediately started to invade my life.
I mean, there are peripheral things I do, I do photography, I write plays, I have books published, but that's neither here not there.
I am suspicious and disillusioned about the uses and misuses of photography in the art world, the press, and the world of entertainment. And to make things more complicated, I don't think that the general public is well educated regarding images. Generally we are taught how to read, but we are not taught how to look.
Landscapes, heads and naked women are called artistic photography, while photographs of current events are called press photography.
Photography - the new, rapid, concrete reflector of the world - should surely undertake to show the world from all vantage points, and to develop people's capacity to see from all sides. (1928)
We struggle against easel painting not because it is an aesthetic form of painting, but because it is not modern, for it does not succeed in bringing out the technical side, it is a redundant, exclusive art, and cannot be of any use to the masses. Hence we are struggling not against painting but against photography carried out as if it were an etching, a drawing, a picture in sepia or watercolor.
For me it is clear that photography prizes should be for those being photographed and not for the photographers.
If you look at most photography, especially the pictures that grab you, they are not objective at all. Sometimes gut wrenching and sometimes lovely, but the moment someone decides to release the shutter, it is an editorial statement.
Photography is and is not a language; language also is and is not a photography.
The relation of photography and language is a principal site of struggle for value and power in contemporary representations of reality; it is the place where images and words find and lose their conscience, their aesthetic and ethical identity.
My favorite part about costume designing is the artistry of the job. You meet with a director and a visionary to discuss ideas. You research the characters and figure out the components of their look through your own vision. You create a color palette for a film, television or stage medium and discuss it with the director of photography who then lights your colored subjects.
Photography is an individual passion of mine. I don't get paid to do it, although people offer me money. I do it because I love it, and if there's no money attached, I don't have to do anything. It's my weekend away, my vacation, whether it's an hour or five hours or editing photos on my laptop in the middle of the night. It gives me relief from all the other stuff.
As a senior in high school my counselor recommended that I soften my science and math direction with an art course. Fortunately my high school offered a new course in B&W photography, so I opted for that instead of art, towards which I had an aversion. Composition is something that comes pretty naturally to me and I appreciate ordered chaos: the photo class turned out to be fun.
Scientists are usually nice, organized, logical people who are very cooperative. I always learn a lot of science while shooting science stories and it helps to be able to speak intelligently to a subject about his or her field of work, i.e., do your homework before the photography.
Photography was the first foreign language of my artistic expression.
Photography by nature is spiritual, considering it comes from the darkness to show the light.
Digital photography and Photoshop have made it very easy for people to take pictures. It's a medium that allows a lot of mediocre stuff to get through.
For a time, people were getting arrested for photographing the Brooklyn Bridge. So to me, what it meant to do photography also changed. There was a new kind of politics to it - something that was very aggressive and dangerous - and a presumption that it would reveal some kind of truth or evidence.
Photography can be a deceitful, superficial medium that leads us into believing something even though we know it's not necessarily true. It lulls us into a false sense of complacency.
My introduction to photography and a lot of how I developed aesthetically was through '50s and early-'60s fashion magazines like Harper's Bazaar and Vogue.
Because I'm interested in depiction, representation, therefore you're interested in photography. You don't ignore it.
Modernism in a way, early modernism, for instance, in pictures, was turning against perspective and Europe. And all early modernism is actually from out of Europe, when you think of cubism is African, is looking at Africa, Matisse is looking at the arabesque, Oceania. Europe was the optical projection that had become photography, that had become film, that became television and it conquered the world.
I think probably something big can be done with cameras, I'm not saying, er, I'm saying chemical photography's finished, that means you can't have a Cartier Bresson again, you need never believe pictures.
It was around the age of 18 when I started to feel like I had learned everything I could learn from being a model - modeling is a really incredible form of expression, but I got into modeling because I loved fashion so much and I really loved photography.
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