A Quote by John Sexton

I make photographs and still make photographs of the natural environment. It's a love because that was part of my life before I was involved in photography. — © John Sexton
I make photographs and still make photographs of the natural environment. It's a love because that was part of my life before I was involved in photography.
Photographs are perhaps the most mysterious of all the objects that make up, and thicken, the environment we recognize as modern. Photographs really are experience captured, and the camera is the ideal arm of consciousness in its acquisitive mood.
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'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.
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.
Photography is a big part of my life: taking photographs, being around photographers.
What I'm trying to do is make photographs that are universally understood... that cross cultural lines. I want my photographs to be about the basic emotions and feelings that we all experience.
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 went back to photography in the 1990s. But from the 60s to the 90s I didn't really take any photographs at all, unfortunately. During that period I lived in France, I lived in England, I lived all over the place in different cities. I didn't take any photographs and because I felt I had really accomplished everything that I wanted to in photography during the period between 61 and 67.
I love being photographed, or I should say I love the art of photography. It's about people taking photographs of you, stealing them, and then presuming or assuming or captioning. Words can never be taken back, photographs can never be taken back, nothing can ever be taken back.
It is a nostalgic time right now, and photographs actively promote nostalgia. Photography is an elegiac art, a twilight art. Most subjects photographed are, just by virtue of being photographed, touched with pathos. ... All photographs are memento mori. To take photograph is to participate in another person's mortality, vulnerability, mutability. Precisely by slicing out this moment and freezing it, all photographs testify to time's relentless melt
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.
Whenever I am tired of making photographs of drawings, I make drawings of photographs.
There is no truth in photography. One can't reproduce an absolute truth. That said, I don't see [my photographs] as being any less truthful than any other photographs.
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 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.
In an initial period, Photography, in order to surprise, photographs the notable; but soon, by a familiar reversal, it decrees notable whatever it photographs. The 'anything whatever' then becomes the sophisticated acme of value.
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