Something about photography is tied to a very specific relationship with the material world. It doesn't have to be, but the way I practice it, it is. So there's an act of observation, but it's not an act of objective recording. It's about framing something and seeing it and understanding that it's relational.
What I've always liked about photography is that it's such a direct way of showing what's on my mind. I see something. I show it to you.
What attracts me in photography is not so much a fine arts approach, but rather photographs as documents... All the ways in which human beings have documented the world in an attempt to order it, in an attempt to consume it or rule it or hang on to it in some sense.
I like photography and I write; I also write music. One day I would like to direct [films] as well.
The art is the challenge which you must meet every day: the technique you should learn to control with time. The science and the art of photography are really one, and not opposed to each other.
Taking photographs is generally an act of 'looking at the object, whereas 'being seen' or 'showing' is what is most interest to one who does a self-portrait...self-portraits deny not only photography itself but the 20th century as an era as well...an inevitable phenomenon at the end of the 20th century.
I wanted to be a scientist. I did a thesis on lions. But I realised photography can show things writing can't. Lions were my professor of photography.
The lions taught me photography. They taught me patience and the sense of beauty, a beauty that penetrates you.
I love the medium of photography, for with its unique realism it gives me the power to go beyond conventional ways of seeing and understanding and say, This is real, too.
For me photography has been a profession, an avocation. Now it has become a way of life.
For example, you now look at pictures from 1968, they are hugely misleading in terms of standing in as an absolute image of the time. Because maybe two percent of the people looked the way that we now associate with that time. I was also aware that what I was aiming for is an idealized, utopian version of how people could be together. I found photography to be a very powerful tool because as long as it looks real, it is perceived as real.
What most artists using photography feel that they need to do is to show that they are serious, that they are not taking snapshots. To point a camera at something does not qualify you as an artist because everybody has done that.
Whatever pictures are put into the world, the balance needs to be readdressed, it needs to be observed. That's why I am also really questioning what a lot of photography has done since I began. I am not saying because of me, but I mean, photographing some friends partying and publishing the pictures meant something else in '92 than it does in 2011. And I find the younger generation is not questioning this at all today.
I find fashion magazines so incredibly boring . . . There still is no new photography and no new concerns.
I love photography and first editions. I have that in my genes. My father was an archivist.
Loving photography and wanting to be a painter, it all ended up in the process of filmmaking. It's strange professionally be to connected because it connects you to architecture, it connects you to painting, it connects you to writers, to actors. It connects you to really all of the arts.
When I first started making photo pieces it wasn't with the idea of a commitment to the medium. I didn't think I would have to become a photographer to make my photographs. I recall that anything could be used as material for art in that era. Photography was just one more thing.
I was born on a tiny cot in southwestern Massachusetts during World War II. A sickly child, I turned to photography to overcome my loneliness and isolation.
I get so confused about life photography art.
Photography as a subject is a good one. Its history is only about 150 years... You only have to know about twenty-five or thirty names and that's it. All you need. In painting there are more than 1,000.
Photography, like any other art, is a form of communication. The artist is not blowing bubbles for his own gratification, but is speaking a language, is telling somebody something.
I am interested in computers and technology, and art, photography, and design.
I thought New York had it coming, that it needed a kick in the balls. When I returned to New York, I wanted to get even. Now I had a weapon, photography.
I was a make believe ethnographer: treating New Yorkers like an explorer would treat Zulus - searching for the rawest snapshot, the zero degree of photography.
I have always loved the amateur side of photography, automatic photographs, accidental photographs with uncentered compositions, heads cut off, whatever. I incite people to make their self-portraits. I see myself as their walking photo booth.
I came from the outside, the rules of photography didn't interest me.
The relation of photography and language is a principal site of struggle for value and power in contemporary representations of reality; it is the place where images and words find and lose their conscience, their aesthetic and ethical identity.
Photography is and is not a language; language also is and is not a photography.
Portrait photography never had any charms for me, so I sought my subjects from the house-tops, and finally from the hill-tops and about the surrounding country; the taste strengthening as my successes became greater in proportion to the failures.
I had the attitude that I would work with this present-day material and do the best I could to describe it with photography, not intending to make any particular comment about whether it was good or bad or whether I liked it or not. It was just there, and I was interested in it. That's what I still do today.
Black-and-white photography, which I was doing in the very early days, was essentially called art photography and usually consisted of landscapes by people like Ansel Adams and Edward Weston. But photographs by people like Adams didn't interest me.
We have a few things in common - smoking, drinking, and women. Photography just gets us out of the house. (To photographer Juergen Teller)
My friend who I went to boarding school with was interested in photography. He insisted that I buy a camera and marched me downtown.
In my photography, color and composition are inseparable. I see in color.
Photography is a way of introducing people to other people.
Photography has become an outstanding and indispensable means of propaganda in the revolutionary struggle.
Photography works upon the human eye: what is seen is reflected in the brain without the need for complicated thought. In this way the bourgeoisie takes advantage of the mental indolence of the masses and does good business as well.
Whatever respect photography may once have deserved is now superfluous in view of its own superfluity.
For me photography was the means to the end, but they made it the most important thing. (On the discovery of X-ray photography.)
News photography teaches you to think fast.