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.
I consider myself fortunate that photography exists, because otherwise I'd be stuck in the tragedy of ephemeralness that can come with installation art.
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 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.
My biggest challenge was moving from photography to film without losing my way of working - which is very intimate and learning to collaborate with more people, since photography for me is a very solitary process.
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.
The photograph doesn't claim to be a participant, or to know, or to be a club member of whatever it's documenting - photography is more demanding when it doesn't pretend to know.
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.
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.
When I first came to America there still was Look Magazine and LIFE Magazine, and the photography in those magazines was amazing to look at. They had the best portraits, and their news photography.
In fact, I probably learned more about photography from studying black-and-white photography in those magazines [Look Magazine and LIFE Magazine] than I did from watching movies here. That's the truth.
I wanted to tell stories that moved. Nothing stays the same, and that's why photography is important. The world flickers and changes, and that's why video is important.
As a teenager, I loved acting, painting, photography, and making films with my friend's Super 8 camera. But I always loved writing the best. I chose writing even before I knew poetry was available to me.
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