A Quote by Eddie Adams

Still photographs are the most powerful weapon in the world. People believe them, but photographs do lie, even without manipulation. They are only half-truths.
All photographs are about light. The great majority of photographs record light as a way of describing objects in space. A few photographs are less about objects and more about the space that contains them. Still fewer photographs are about light itself.
I don't consider [my] photographs fashion photographs. The photographs were for fashion, but at the same time they had an ulterior motive, something more to do with the world in general.
Still photographs are the most powerful weapons in the world. Words and pictures have a continuing struggle for primacy. In my mind, a person can write the best story in the world; but a photograph is absolute.
He who writes must master the rules of grammar. He who shoots photographs needs only to follow the instructions as given by the camera.... This leads to the paradox that the more people shoot photographs, the less they are capable of deciphering them.
To live in a world of photographs is to live in a world of substitutes... or so it seems, whose actual referent is always the other, the described, the reality of a world once removed. I prefer, on the other hand, to look at the photographs as something real and of my world, a strange and powerful thing... part of a language, a system of communication, an economy of signs.
I believe that photography can only reproduce the surface of things. The same applies to a portrait. I take photographs of people the same way I would take photographs of a plaster bust.
I believe in the resonance and staying power of quiet photographs. These photographs required a certain seeing, but few special techniques, and no tricks. Something though was hard. It was hard being between photographs and not knowing when or how another image would reveal itself.
Saudi Arabia is so conservative. At first there were photographs of women I took that I couldn't publish - of women without their abayas. So I started writing out little anecdotes about things I couldn't photograph and wove it in with a more obscure picture and called it "moments that got away". I realised these worked as well as the photographs by themselves. There are a lot of photographers who feel the story is all in the photographs but I really believe in weaving in complementary words with the pictures.
Some of the people who are now manipulating photos, such as Andreas Gursky, make the argument - rightly - that the 'straight' photographs of the 1940s and 50s were no such thing. Ansell Adams would slap a red filter on his lens, then spend three days burning and dodging in the dark room, making his prints. That's a manipulation. Even the photographs of Henri Cartier-Bresson, with all due respect to him, are notoriously burned and dodged.
I've had photographs taken for portraits because I very much prefer working from the photographs than from models... I couldn't attempt to do a portrait from photographs of somebody I didn't know.
I began to realize that photographs, these still images, have a tremendous power to move your soul. They can change your life by what you choose to get out of them, and I started to collect photographs.
I knew that was coming. That's another stupidity. The people who use the term don't even know the meaning. They use it to refer to photographs they believe are loosely organized, or casually made, whatever you want to call it. Whatever terms you like. The fact is, when they're talking about snapshots they're talking about the family album picture, which is one of the most precisely made photographs.
My aim is increasingly to make my photographs look so much like photographs [rather than paintings, etchings, etc.] that unless one has eyes and sees, they won't be seen - and still everyone will never forget having once looked at them.
To me, photographs are like words and I generally will place many photographs together or print them one inside the other in order to construct a free-floating sentence that speaks about the world I witness.
Teaching is only interesting because you struggle with trying to talk about photographs, photographs that work, you see.
My photographs are proof of what happened. When I go to Russia, sometimes I meet ex-soldiers... They say, 'We came to liberate you....' I say: 'Listen, I think it was quite different. I saw people being killed.' They say: 'No. We never... no shooting. No. No.' So I can show them my Prague 1968 photographs and say, 'Listen, these are my pictures. I was there.' And they have to believe me.
This site uses cookies to ensure you get the best experience. More info...
Got it!