After a lifetime of nature shows and magazine photos, we arrive at the woods conditioned to expect splendor - surprised when the parking lot does not contain a snarl of animals attractively mating and killing each other.
It's hard to get into Newsweek because, as more of our former intellectual magazines take on a pop focus, if there's no buzz, there's no interest.
The public is being spoiled by good technical quality photographs in magazines, on television, in the movies, and they have become bored. The disease of our age is this boredom and a good photographer must successfully combat it. The only way to do this is by invention - by surprise.
I don't sit down with a goal of writing. I read books or magazines. I watch TV. I go to the doctor. I get on airplanes. I live a normal life and sometimes I'll notice something or read things or experience things.
The magazine at the health food store said, Stop Aging! Isn't that what death is for? Trust me, we're all gonna stop aging.
So my wife said she read this article in a magazine and she said: "You know, maybe you're suffering from premature ejaculation." Yeah, does it look like I'm suffering? Those aren't tears on your belly.
It has never ever been a bad thing in Hollywood to be sleeping with a director who's just won an Oscar or the hot new movie star whose face is on the cover of 'Time' magazine.
I am powerless against the great magazines - I am an artist, and I will always be that.
To an ever greater extent out experience is governed by pictures, pictures in newspapers and magazines, on television and in the cinema. Next to these pictures firsthand experience begins to retreat, to seem more and more trivial. While it once seemed that pictures had the function of interpreting reality, it now seems they have usurped it. It therefore becomes imperative to understand the picture itself, not in order to uncover a lost reality, but to determine how a picture becomes a signifying structure of its own accord.
I couldn't find any good pictures in magazines of ordinary modern street corners in America, so I persuaded this guy I knew in Sacramento - Stanley Something-or-other - to spend a day with me driving around just to take snapshots.
...in the theatre the stage keeps the audience aware of the fictional nature of the action. The reader poring over a magazine, on the other hand, identifies what he sees in the photographs as real.
We're so conditioned to the syntax of the camera that we don't realize that we are running on only half the visual alphabet... It's what we see every day in the magazines, on billboards and even on television. All those images are being produced basically the same way, through a lens and a camera. I'm saying there are many, many other ways to produce photographic imagery, and I would imagine that a lot of them have yet to be explored.
A [spatial, temporal] work had only to be exhibited in a gallery and then written about and reproduced as a photograph in an art magazine. Then this record of the no longer extant installation, along with accretions of information after the fact, became the basis for its fame, and to a large extent its economic value.
In the future, readers of newspapers and magazines will probably view news pictures more as illustrations than as reportage, since they can no longer distinguish between a genuine image and one that has been manipulated.
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.
The flood of photos sweeps away the dams of memory. Never before has a period known so little about itself. In the hands of the ruling society, the invention of illustrated magazines is one of the most powerful means of organizing a strike against understanding... The 'image-idea' drives away the idea.
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.
The only thing I remember writing in prison is a couple of poems for an inmate magazine they did once a year.
My point of view comes more from the literature I've read and the comedy of the era. When I was a kid, coming across National Lampoon Magazine, that was a big thing. I suddenly felt like there were other people that felt the way I did, and there was a way of expressing and communicating this worldview.
If I'm at somebody's house and they have magazines on the table and people are chatting, I feel almost a physical urge to start reading the magazines instead of talking to people.
Of course a magazine is usually more interesting than a conversation, because so much more time and preparation has gone into it.
When I started graduate school we did this publishing class where we learned about submitting and read interviews with editors from different magazines. A lot of them said they got so many submissions that unless the first page stuck out or the first paragraph or even the first sentence they'll probably send it back. So part of my idea was that if I have a really good first sentence maybe they'll read on a bit further. At least half, maybe more of the stories in Knockemstiff started with the first sentence; I got it down then went from there.
I always revise when I publish in a book. So versions in magazines are sometimes slightly different.
Although the point of blogging is that it doesn't pay, I often steal from my blog for paid publication. I've based several magazine essays on blog posts, as well as an entire book.
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