Quotes of All Topics . Occasions . Authors
I respect everything in change and the solemn beauty of life and death... and therefore, while man is amidst the immense beauty of objective bodies, he must possess the capacity of self-perfection and must observe and represent his world with full confidence.
I don't invent anything. I imagine everything... most of the time, I have drawn my images from the daily life around me. I think that it is by capturing reality in the humblest, most sincere, most everyday way I can, that I can penetrate to the extraordinary.
Perspective is a law of optics... The Chinese did not have a system like it. Indeed, it is said they rejected the idea of the vanishing point in the eleventh century, because it meant the viewer was not there, indeed, had no movement, therefore was not alive.
The moment you can learn to deal with homosexuality in art, it's quite an exciting moment, just as in a sense when people 'come out' it's quite an exciting moment. It means they become aware of their desires, and can deal with them in a remarkably honest way.
When I was a kid in New York I used to go to the zoo. I always liked the zoo. I grew up within walking distance of the Bronx Zoo. And then when my first two children were young, I used to take them to the zoo. Zoos are always interesting. And I make pictures.
I do not understand what makes me take a picture. Cartier-Bresson talks about the decisive moment, the necessity to function with lynx eyes and silk gloves. Perhaps what happens when you press the shutter is an intuitive act infused with all you have learned.
I realize that we all do express ourselves, but those who express that which is always being done are those whose thinking is almost in every way in accord with everyone else. Expression on this basis has become dull to those who wish to think for themselves.
Ultimately, we have to ask ourselves an essential spiritual and ethical question: Are we the kind of people who take everything for ourselves and leave nothing for others, or do the angels of our better nature still live? I believe the angels are still alive.
Art is not meant to change the world, but when you see people interacting, when you see an impact on their lives, then I guess in a smaller way, this is changing the world. So, that's what I believe in. That's why I'm into creating more and more interactions.
When I started using the extreme short depth of field and single point of focus, I was trying to replicate my changing eyesight. We have binocular vision; one eye perceives space from the other. I don't experience a scene visually at F32. It's more like F1.4.
Being Peruvian means to come from the farthest place possible to get to Europe. Peru is the land of the Incas. It was the capital of South America; it was where the Spanish founded their empire and took over the Inca Empire and made it into a colony of Spain.
Of the thousands of people, celebrated and unknown, who have sat before my camera, I am often asked who was the most difficult subject, or the easiest, or which picture is my favorite. This last question is like asking a mother which child she likes the most.
To me, the work I do is a means of interpreting unsettling truths, of bearing witness, and of sounding an alarm. The beauty of formal representation both carries an affirmation of life and subversively brings us face to face with news from our besieged world.
People have responded to the pictures I make as mystical things, and they somehow carry the illusion further thinking that the place is this mystical, magical place. The desert is also a very barren place, a very lonely place, a very boring, uneventful place.
For nearly two years, I was flying above the planet with my camera. I knew straight away that this was something important to do, just at this moment, a portrait of the planet for the millennium year. I worked in 80 countries, fighting for money all the time.
If you take your inspiration from nature, you don't invent anything, because what you want to do is to interpret something. But still, everything passes throught your imagination. What you produce at the end is very different from the reality you started with.
There is nothing, under present conditions, that can be more easily and exactly reproduced than a technically good black-and-white photograph, and it is utter rot to burden those interested in them with irrelevant biographical trivia and pet longwinded theory.
Seeing, in the finest and broadest sense, means using your senses, your intellect, and your emotions. It means encountering your subject matter with your whole being. It means looking beyond the labels of things and discovering the remarkable world around you.
If, in making a portrait, you hope to grasp the interior silence of a willing victim, it's very difficult, but you must somehow position the camera between his shirt and his skin. Whereas with pencil drawing, it is up to the artist to have an interior silence.
I have consecrated my life to changing matter into spirit with the hope of one day seeing it all. Seeing in its total form, while wearing the mask, from the distance of death. And there, in the eternal destiny, to seek the face I had before the world was made.
The primary mode of experiencing images is non-verbal... but once it's brought out into the light of the day, what's understood by the subconscious intuitive mind can be better grasped by the conscious rational mind. Aligning the two produces powerful results.
Every day I am aware of the flow and constant change; perhaps I am at the edge of discovering what more our bodies might be able to teach about the spirit of life. At least, I am always exploring and trying to understand our relationship to the whole universe.
Leaving aside the mysteries and the inequities of human talent, brains, taste, and reputations, the matter of art in photography may come down to this: it is the capture and projection of the delights of seeing; it is the defining of observation full and felt.
Privilege, if you're very strict, is an immoral and unjust thing to have, but if you've got it you didn't choose to get it and you might as well use it. You're privileged to be at Yale, but you know you're under an obligation to repay what's been put into you.
There's plenty of film out there, and quadrillions of cameras that use film - I don't think it makes much sense not to use it. The thing that's going out is the manufacturing of the paper. Incidentally, all these years my wife has told me that I'm color-blind.
Half voluntarily, half Winston's older brother [William] would take me in, saying, "Daddy, I think you oughta do this." And I'd say, "I think you're right, maybe I do need it." Sometimes a week later I'd leave the place; sometimes I'd stick it out for a month.
I'm really interested in older women, to be honest, because they have lived a life that I've not yet lived. So I really want to learn from them, and I think culturally we tend to dispose of women once they get to a certain age and they don't look a certain way.
My early childhood equipped me really well for my portrait work: The quick encounter, where you are not going to know the subject for very long. These days I am much more comfortable with the fifteen minute relationship, than I am with a life long relationship.
Most of life is grey, with a little tiny bit of black and white. We're always subject to what I call the compression industry, which is an attempt to compress a million shades of grey with a little bit of black and white to just a hundred, or to ten, or to one!
Magazines don't have enough confidence to have their own style, so they use a borrowed style. That is shocking to me, but your perception is very accurate. It's a way to be more commercially viable, but to me, that's not having a style, that's having a schtick.
I just don't know what makes a picture, really - the thing that makes it is something unique, as far as I can understand. Just like one guy can write a sentence and it's beautiful and another one can write it and it's dead. What the difference is, I don't know.
The images I like best are parts of series that I've started, in some cases, with the pregnancies of the mothers of the children in question, and I continue that series right on through the birth of children to the child that resulted from that first pregnancy.
I've come to realize that the mark is the primal gesture, the internal connection of the caveman to the cosmos; an impossibility similar to an impulse in an insect's nervous system that it could somehow reduce to dust a steel beam by endlessly crawling over it.
Photography, of course, is the perfect medium for the investigation. It can reveal the truth of present day specifics and particularities, while at the same time, by conscious choice of lighting and pictorial structure, suggest the aesthetic legacy of the past.
When I have had such men before my camera my whole soul has endeavored to do its duty towards them in recording faithfully the greatness of the inner as well as the features of the outer man. The photograph thus taken has been almost the embodiment of a prayer.
If you can reach just 10 percent of the population, you can begin to reach a tipping point; that's where true social movements take place - it's a numbers game. And when you reach that number, the truth becomes obvious and empires of injustice crumble and fall.
I think it's obscene that many people are starving to death from anorexia. It's been said many times, it's trite. But when so much evil is going on against, for example the Afghani people, where women are being so oppressed that a woman's body is a battlefield.
There's a huge number of things that are occurring with the ice works which fascinate me enormously, but it's driven by this kind of frantic race against time. And whilst that creates a huge amount of tension and problems, it's a tension that I think I feed off.
This benefit of seeing...can come only if you pause a while, extricate yourself from the maddening mob of quick impressions ceaselessly battering our lives, and look thoughtfully at a quiet image...the viewer must be willing to pause, to look again, to meditate.
Sometimes I envy painters, it is wonderful to remain in front of a bouquet of flowers a whole morning, or even longer. A photographer is like a cloud, pushed all around, always dependent on the exterior world. That's what I sometimes feel as a pain and an error.
My advice for climbers or photographers is to really tune into your own passions and not just what other people are doing or aren't doing. Figure out what works for you, what turns you on, what gives you the greatest amount of energy and feeling of satisfaction.
There is more in art, with an apology to that much abused word, as applied to photography, than startling display lines, on mounts and signs announcing artist Photographer, Artistic Photography Studio, etc., and the lower the standard the more frantic the claim.
I was drawn to street photography because there are pictures everywhere there: a woman holding a dog, a baby screaming to be put in a pram, kids playing punch ball, stores with huge barrels of kosher pickles outside. I wanted to photograph life, and here it was.
To take photographs means to recognize - simultaneously and within a fraction of a second - both the fact itself and the rigorous organization of visually perceived forms that give it meaning. It is putting one's head, one's eye and one's heart on the same axis.
Ambiguity is really important to me. Part of the difficulty facing photographers is that almost any subject matter has accumulated a representational history, so to find a new discursive space, a space to wander around those subject matters, is a real challenge.
The way men are seen in photography, in fashion, and the way that men look at pictures of themselves has changed in recent years. It is a subject that has come into focus: The masculine image, a man's personal style, changing attitudes to the male face and body.
Nobody thinks about technical issues anymore because cameras or camera phones take care of that automatically. On the other hand, you still have the option of controlling every technical aspect. It's the most accessible, democratic medium available in the world.
A photograph isn't necessarily a lie, but nor is it the truth. It's more of a fleeting, subjective impression. What I most like about photography is the moment that you can't anticipate: you have to be constantly watching for it, ready to welcome the unexpected.
There are some people who become best friends with everyone they photograph. There are people that I really like and admire and respect, but in a way I think it's better to keep a distance. I think you get better pictures of people that you don't know very well.
The thing that keeps you scrambling over the rocks, risking snakes, and swatting at the flies is the view. It is only your enjoyment of and commitment to what you see, not to what you rationally understand, that balances the otherwise absurd investment of labor.