A Quote by David Hurn
You are not a photographer because you are interested in photography.
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The fundamental issue is one of emphasis: you are not a photographer because you are interested in photography...The reason is that photography is only a tool, a vehicle, for expressing or transmitting a passion in something else. It is not the end result.
To us, the difference between the #? photographer as an individual eye and the photographer as an objective recorder seems fundamental, the difference often regarded, mistakenly, as separating photography as art from #? photography as document. But both are logical extensions of what photography means: note-taking on, potentially, everything in the world, from every possible angle.
What's happened is that the digital age has made photography more accessible to people. Everyone is a photographer. But to do it [photography] at a certain level, well, there's a skill to it. Still, it's a good time for photography now.
I'm a photographer, period. I love photography, the immediacy of it. I like the craft, the idea of saying 'I'm a photographer.'
Different levels of photography require different levels of understanding and skill. A "press the button, let George do the rest" photographer needs little or no technical knowledge of photography. A zone system photographer takes more responsibility. He visualizes before he presses the button, and afterwards calibrates for predictable print values.
... the possibility of one particular photographer's pictures lying around the corner is never realized until the photographer is there. It's one of the enigmas of photography.
The two ideas are antithetical. Insofar as photography is (or should be) about the world, the photographer counts for little, but insofar as it is the instrument of intrepid, questioning subjectivity, the photographer is all.
As an avid photographer, I also took advantage of the latest technology in photography - digital photography - to post photos on my website on a daily basis.
No individual photo explains anything. That's what makes photography such a wonderful and problematic medium. It is the photographer's job to get this medium to say what you need it to say. Because photography has a certain verisimilitude, it has gained a currency as truthful - but photographs have always been convincing lies.
Photography has an amazing ability to capture the fine detail of surface textures. But far too often these intricate patterns are loved by the photographer for their own sake. The richness of texture fascinates the eye and the photographer falls easy prey to such quickly-caught complexities. The designs mean nothing in themselves and are merely pictorially attractive abstractions. A central problem in contemporary photography is to bring about a wider significance in purely textural imagery.
Because I'm interested in depiction, representation, therefore you're interested in photography. You don't ignore it.
[Photography] underlines the photographer. That's the Barthesian this has been. Well, this has been for the photographer as well. The photographer is the hidden placeholder in the Barthesian equation.
If the photographer is interested in the people in front of his lens, and if he is compassionate, it's already a lot. The instrument is not the camera but the photographer.
[Photography] can be tiny, on your phone, or it can be a billboard, or a film-sized projection, or printed in a magazine. I don't think we've been in a time before when so much photography is available in so many formats, when everybody is a photographer.
Photography for me has been tremendously good, because I'm not a very sociable person. I'm happy reading or sitting in the library or going for walks. So photography has brought me in contact with people and made me understand people in a way that I probably wouldn't have done if I hadn't been a photographer. And so I'm grateful for that, really.
I started photography more or less by accident when I was already 27. I was taken on as an assistant by a photographer who was a friend of a friend and I very quickly understood the potential of expression in photography.
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