A Quote by Robert Frank
You do your work as a photographer and everything becomes past. Words are more like thoughts; the photographer's picture is always surrounded by a kind of romantic glamor - no matter what you do, and how you twist it.
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Well, I'm not going to get into that. I think that those kind of distinctions and lists of titles like "street photographer" are so stupid. I'm a photographer, a still photographer. That's it.
I've never not been sure that I was a photographer any more than you would not be sure you were yourself. I was a photographer, or wanting to be a photographer, or beginning - but some phase of photographer I've always been.
A photographer is a witness. He has a moral duty. Every picture must be true and honest. I believe a photographer's strength is his ability to accurately record reality. There are photographers who think they are lucky if they find unusual or special subject. But it is never the subject that is so marvelous. It is how alive and real the photographer can make it.
Sometimes a photographer is a passenger, sometimes a person who stays in one place. What he watches changes constantly, but his watching never changes. He doesn't examine like a doctor, defend like a lawyer, analyze like a scholar, support like a priest, make people laugh like a comedian, or intoxicate like a singer. He only watches. This is enough. No, this is all I can do. All a photographer can do is watch. Therefore, a photographer has to watch all the time. He must face the object and make his entire body an eye. A photographer is someone who wagers everything on seeing.
People say to me, "Who's your favorite kind of photographer?" Or "Who would be your favorite photographer to have in a workshop?"
And I always say, "My Dad."
No matter how much crap you gotta plow through to stay alive as a photographer, no matter how many bad assignments, bad days, bad clients, snotty subjects, obnoxious handlers, wigged-out art directors, technical disasters, failures of the mind, body, and will, all the shouldas, couldas, and wouldas that befuddle our brains and creep into our dreams, always remember to make room to shoot what you love. It's the only way to keep your heart beating as a photographer.
I became a photographer in order to be a war photographer, and a photographer involved in what I thought were critical social issues. From the very beginning this was my goal.
It is no accident that the photographer becomes a photographer any more than the lion tamer becomes a lion tamer.
This is how you can tell a real photographer: mostly, a real photographer does not say 'I wish I had my camera on me right now'. Instead a real photographer pulls out her camera and takes the photograph.
The images which the [press] photographer has filtered from reality, whether particular events or the anguish of human reactions to them, already bear a stamp of authenticity which the photographer is powerless to alter by one jot or tittle; the meaning of the objects, by a process of purification, itself becomes the theme of the work.
A photograph records both the thing in front of the camera and the conditions of its making... A photograph is also a document of the state of mind of the photographer. And if you were to extend the idea of the set-up photograph beyond just physically setting up the picture, I would argue that the photographer wills the picture into being.
The creative life of the commercial photographer is like the life of a butterfly. Very seldom do we see a photographer who is really productive for more than eight or ten years.
...a photographer must be aware of and concerned about the words that accompany a picture. These words should be considered as carefully as the lighting, exposure and composition of the photograph.
I'm a photographer, period. I love photography, the immediacy of it. I like the craft, the idea of saying 'I'm a photographer.'
Composition is what's similar between being photographer and director. As a photographer, you're sort of doing everything - you're directing the lights and you're framing and you're moving around. The hardest thing to learn as a director is how cameras have to move. You have to have patience, you have to learn how to look through the lens and then you have to learn to combine all of the compartments into one great image.
What is right? Simply put, it is any assignment in which the photographer has a significant spiritual stake...spiritually driven work constitutes the core of a photographer's contribution to culture.
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