Quotes of All Topics . Occasions . Authors
The world begins with every kiss.
All we did was to turn back the time to a photography of precision which is superior to the human eye.
Photography... has lived under the tyranny of its subject matter: the object has exercised an almost total domination.
I have always thought that the photographer does artistic work and that art consists of working with fictional premises.
This is about objects, not motifs. The photo is only a substitute for an object; it is unsuitable as a picture in its customary sense.
I need there to be documentary photographers, because my work is meta-documentary; it is a commentary about the documentary use of photography.
The heart [of my work], the quintessential, remains the questioning of photographic truth. Be careful, be critical, doubt, and filter the information you receive.
When someone discovers something in their lives that really interests them, then they should be content with doing that - without having to go and lie on a beach once a year.
Photography is a tool to negotiate our idea of reality. Thus it is the responsibility of photographers to not contribute with anaesthetic images but rather to provide images that shake consciousness.
There are religions in which the representation of the world is banned as an usurpation of the power of a God, creator of all things. It is very possible that photography is a trick of the devil and each shot is a sin.
Every photograph is a fiction with pretensions to truth. Despite everything that we have been inculcated, all that we believe, photography always lies; it lies instinctively, lies because its nature does not allow it to do anything else.
Among photojournalists there is still a sense that doing a photomontage is far graver than adding a filter. I am against this type of hierarchy that demonizes some options over others, demonizes them in respect to, what - ideology or moral code?
The question if this is a work of art or not is not very interesting for us. Probably it is situated in between the established categories. Anyway the audience which is interested in art would be the most open-minded and willing to think about it.
We don't agree with the depiction of buildings in the '20s and 1930s. Things were seen either from above or below which tended to monumentalize the object. This was exploited in terms of a socialistic view - a fresh view of the world, a new man, a new beginning.
Our camera does not produce pretty pictures, but exact duplications that, through our renunciation of photographic effects, turn out to be relatively objective. The photo can optically replace its object to a certain degree. This takes on special meaning if the object cannot be preserved.
As time went by we developed a sort of ideology without ever formulating it as such. I've always said that we are documenting the sacred buildings of Calvinism. Calvinism rejects all forms of art and therefore never developed its own architecture. The buildings we photograph originate directly from this purely economical thinking.
We simply thought that we would be considerably poorer in Europe if we didn't have the sacred buildings of earlier epochs. It's still possible to experience the Gothic period, not to mention the Romantic. Only nothing remains of the industrial age. So we thought that our photos would give the viewer the chance to go back to a time that is gone forever.
Photography mirrored the [nineteenth century] will towards rigor, towards defining details, the need for miniscule description, the long-distance optics, for technology at the service of truth, for concepts of credibility, of objectivity, the need to archive, for the consolidation of institutions like the museum, in short, towards a need to control memory.