A Quote by Richard Kalvar

The photograph is completely abstracted from life, yet it looks like life. That is what has always excited me about photography. — © Richard Kalvar
The photograph is completely abstracted from life, yet it looks like life. That is what has always excited me about photography.

Quote Author

Richard Kalvar
Born: 1944
The one thing that is always clear in my mind is that the people, and their stories, and the themes of life that I photograph are always more important to me than the process of photography itself.
When a person looks at a photograph you've taken, they will always think of themselves, their own life experience. They will relate your photograph to their memories. That interplay is where a picture comes alive and grows into something. They function like invitations.
I always liked photography in film - I studied photography growing up. I like the medium of film; I like physically holding 35-mm film. I like the way it looks, the quality when it's projected. I like the way it frames real life.
You've got a number of things that take place that are peculiar to still photography. One: how a picture looks - what you photograph is responsible for how a photograph looks. In other words, it's responsible for the form.
If I photograph you I don't have you, I have a photograph of you. It's got its own thing. That's really what photography, still photography, is about.
I just love life. I'm excited about things in life. I think that if you're excited about life, you are excited about waking up and doing things with your life every day.
Painting from life is a completely different monster, which I like. But because I've been painting from photography for so long, I've learned my best moves from photography.
I don't have anything to say in any picture. My only interest in photography is to see what something looks like as a photograph. I have no preconceptions.
Photographers usually want to photograph facts and things. But I'm interested in the nature of the thing itself. A photograph of someone sleeping tells me nothing about their dream state; a photograph of a corpse tells me nothing about the nature of death. My work is about my life as an event, and I find myself to be very temporal, transient.
Acting is always at the core of my life, but I'm also excited about producing. I'm excited about directing, and I have a life in the filmmaking world, and so I want to explore all aspects of it, not just the acting, but acting is the root.
A photograph of a woman crying tells me nothing about grief. Or a photograph of a woman ecstatic tells me nothing about ecstasy. What is the nature of these emotions? The problem with photography is that it only deals with appearances.
The photograph is a tool used to take you back to a certain point in one's life, to remember a face or a place you once stood. I feel there is always something quite melancholic about a photograph.
One of the magical things about photography is the transformation that takes place when you photograph something. Something that inherently has very little going for it in terms of the interest you take in it, can become infinitely more interesting when rendered as a photograph. It's no longer a building. It's a photograph.
I find it completely irrational to say someone who stands up for life for children is taking the life of adult. It's completely inconsistent with the values of the pro-life movement that are very passionate about protecting life, not taking life.
I hope maybe somehow I won't be in this business all my life, and I won't be one of those women that's trying to, you know, save what she looks like... My work is about something completely different. It's about what's inside.
I think that's why Meryl Streep is working so much, because she looks like a woman we can all relate to. I look at her and I think, 'I'm chasing my kids, I've moved my parents in with me, I'm coping with food spills - that looks like me in real life'. Meryl looks like an unmade bed, and that's what I look like. To me, that looks true.
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