Philosophy can forsake too easily the details of experience… many writers and painters have demonstrated that thinking long about what art is or ought to be ruins the power to write or paint.
The word beauty is unavoidable … it accounts for my decision to photograph … There appeared a quality, beauty seemed the only appropriate word for it, in certain photographs, and I am compelled to live with the vocabulary of this new sight … through over many years [I] still find it embarrassing to use the word beauty, I fear I will be attacked for it, but I still believe in it.
What we hope for from the artist is help in discovering the significance of a place. In this sense we would choose in most respects for thirty minutes with Edward Hopper’s painting Sunday Morning to thirty minutes on the street that was his subject; with Hopper’s vision we see more.
The history of art is filled with people who did not live long enough to enjoy a sympathetic public, and their misery argues that criticism should try to speed justice.
I am afraid that there are more people than I can imagine who can go no further than appreciating a picture that is a rectangle with an object in the middle of it, which they can identify.
I’ve always assumed that the abstract qualities of [my] photographs are obvious. For instance, I can turn them upside down and they’re still interesting to me as pictures. If you turn a picture that’s not well organized upside down, it won’t work.
Whether a photo or music, or a drawing or anything else I might do—it’s ultimately all an abstraction of my peculiar experience.
There is no particular reason to search for meaning.
Photography just gets us out of the house.
After the fall of the Soviet Union, if you start the clock, then 47 journalists, reporters, cameramen, photographers have been killed in Russia since the fall of communism. That makes it the third most deadly country on Earth to practice journalism. That's not a record to be proud of.
Guys don't understand great art. They don't care that sometimes the camera has power beyond the photographer to record emotion that only the heart can see. They're threatened when the camera jumps ahead of me. Todd Kovich was pissed when I brought my Nikon to the prom, but I'd missed too many transcendent shots over the years to ever take a chance of missing one again. A prom, I told him, had a boundless supply of photogenic bozos who could be counted on to do something base.
The camera machine cannot evade the objects which are in front of it. When the photographer selects this movement, the light, the objects, he must be true to them. If he includes in his space a strip of grass, it must be felt as the living differentiated thing it is and so recorded. It must take its proper but no less important place as a shape and a texture in relationship to the mountain tree or what not, which are included.
The documentary photographer aims his camera at the real world to record truthfulness. At the same time, he must strive for form, to devise effective ways of organizing and using the material. For content and form are interrelated. The problems presented by content and form must be so developed that the result is fundimentally [sic] true to the realities of life as we know it. The chief problem is to find a form that adequately represents the reality.
Documentary: That’s a sophisticated and misleading word. And not really clear… The term should be documentary style… You see, a document has use, whereas art is really useless.
The photographs are not illustrative. They, and the text, are coequal, mutually independent, and fully collaborative. By their fewness, and by the importance of the reader’s eye, this will be misunderstood by most of that minority which does not wholly ignore it. In the interests, however, of the history and future of photography, that risk seems irrelevant, and this flat statement necessary.
I think there is a period of esthetic discovery that happens to a man and he can do all sorts of things at white heat.
Photographer's advice: Stand in the right place.
The most important thing you learn as a sports photographer is anticipation - not where the action is taking place, but where it’s going to take place. Not where the subject is now, but where they’re going to be.
I've been a documentary photographer for much longer than I have been a filmmaker.
My height can be a problem. A lot of directors and photographers are sometimes not happy because I'm pretty tall and especially if I work with short actors the difference can be pretty massive.
I didn't want to pretend to be a conceptual artist that charges $10,000 for an experience. It's just not what I am. I'm a photographer and I make prints. And people buy a print, and I understand that. But I'm uncomfortable with buying an experience.
I'm a project-based photographer; I think in narrative terms, the way a writer thinks of a book, or a filmmaker a film.
If the man who paints only the tree, or flower, or other surface he sees before him were an artist, the king of artists would be the photographer. It is for the artist to do something beyond this.
I was one of Them: the Strange Ones. The Funny People. The Odd Tribes of autograph collectors and photographers. The Ones who waited through long days and nights, who used other people's dreams for their lives.
a likeness different from the products of the God-fearing photographer.
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