...I don't see myself as a documentary photographer. I am more drawn to the image itself, rather than to the description of a scene. And, anyway, every image only halfway represents reality, whereas the other half is rather, more or less, fulfilling our imagination.
Making the documentary was an extraordinary experience and it really hit home to me the quasi-religious nature of this anthropogenic global warming cause. These people really have found religion.
The photographic frame is no longer used as a documentary window into undisturbed private lives, but as a stage on which the subjects consciously direct themselves to bring forward hidden information that is not normally displayed on the surface.
My staged work looks so real that people actually take it for documentary. But, in fact, that is my intention, to disguise the manufacturedness of it. Half of my work, or probably more than that, is staged.
It's rare in a documentary film that you have a repetitive act. So when you do, you can shoot it in different ways so that you have more choices when you're sitting down to edit that sequence six months later.
I'm kind of a twisted social documentary photographer.
For years my only purpose was to do documentary photos for magazines, without any idea that they were part of a larger project. It was as if I were carried along by a stream - even though I believed that the current was taking me in the right direction.
A lot of people just go to movies that feed into their preexisting and not so noble needs and desires: They just go to action pictures, and things like that. But if you go to foreign films, if you go to documentaries, if you go to independent films, if you go to good films, you will become a better person because you will understand human nature better. Movies record human nature in a better way than any other art form, that's for sure.
Photography is the typical means of expression of a society founded on a civilization of technicians, conscious of the aims it has set for itself... Its power of exactly reproducing external reality, a power inherent in its technique, lends it a documentary character and makes it appear as the most faithful and impartial process for the reproduction of social life.
I need there to be documentary photographers, because my work is meta-documentary; it is a commentary about the documentary use of photography.
In a way my work is documentary. But I am also a photographer who has a distinct style. My photographs are a companion to the reality of the situation.
The exposé, the compassion and outrage, of documentary fueled by the dedication to reform has shaded over into combinations of exoticism, tourism, voyeurism, psychologism and metaphysics, trophy hunting - and careerism.
A picture that is ghostly and silent can be more eloquent and less clichéd than a noisier photo-journalistic approach and I have attempted to make pictures that whilst they are not documentary in the traditional sense, they are still documents, like forensic traces.
Watching a documentary with people hacking their way through some polar wasteland is merely a visual. Actually trying to deal with cold that can literally kill you is quite a different thing.
Reportage is interesting only when placed in a fictional context, but fiction is interesting only if it is validated by a documentary context.
When you say documentary, you have to have a sophisticated ear to receive that word. It should be documentary style, because documentary is police photography of a scene and a murder ... that's a real document. You see, art is really useless, and a document has use. And therefore, art is never a document, but it can adopt that style. I do it. I'm called a documentary photographer. But that presupposes a quite subtle knowledge of this distinction.
[Documentary photography] is unwittingly literary, because it is nothing other than an observation of contemporary life apprehended at the right moment by an artist capable of seizing it. (1928)
I think being really open to this new world of online and what it means to be online. Also, understanding that maybe it's time to let go of the 90-minute experience and realize that all of the content that comes on top of the 90-minute film experience, [that] there's a lot of that, especially with documentaries.
I think photojournalism is documentary photography with a purpose.
I've always been interested in how to present something that relates to our reality - which is not really... I don't even know if documentary itself does as good a job. It has its own problems in trying to get at the reality of the situation.
No one likes documentaries.
I think everything can be painted because painting can change reality; but everything cannot be photographed and the photographer often comes home empty-handed, with images which (often) have a documentary interest, but which rarely go further than that. One has to be completely available, very tenacious and admit that many subjects won't give any results... and a miracle sometimes happens, without warning.
I personally chose to go vegan because I educated myself on factory farming and cruelty to animals, and I suddenly realized that what was on my plate were living things, with feelings. And I just couldn't disconnect myself from it any longer. I read books like 'Diet for a New America' and saw documentaries like 'Earthlings' and 'Meet your Meat,' and it became an easy choice for me.
For me, documentary photography has always come with great responsibility. Not just to tell the story honestly and with empathy, but also to make sure the right people hear it. When you photograph somebody who is in pain or discomfort, they trust you to make sure the images will act as their advocate.
I have my ideas of what a good documentary is, but drama is a different animal because you're arranging everything.
Follow AzQuotes on Facebook, Twitter and Google+. Every day we present the best quotes! Improve yourself, find your inspiration, share with friends
or simply: