A Quote by Albert Renger-Patzsch
In photography one should surely proceed from essence of the object and attempt to represent it with photographic terms alone.
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Every adventure I've ever had with love and photography has ended in a similar misadventure. As is often the case, the rush of longing detaches from its object of desire, and my photographic ghosts lead me back to myself, alone.
Everyone should know nowadays the unimportance of the photographic in art: that truth, life, or reality is an organic thing which the poetic imagination can represent or suggest, in essence, only through transformation, through changing into other forms than those which were merely present in appearance.
I like to think of Photography 1.0 as the invention of photography. Photography 2.0 is digital technology and the move from film and paper to everything on a chip. Photography 3.0 is the use of the camera, space, and color and to capture an object in the third dimension.
In 1967 there was no place for photography in a contemporary art gallery. It was almost impossible to get an art dealer to look at, let alone exhibit, anything photographic.
I believe that street photography is central to the issue of photography—that it is purely photographic, whereas the other genres, such as landscape and portrait photography, are a little more applied, more mixed in the with the history of painting and other art forms.
To know whether photography is or is not an art matters little. What is important is to distinguish between good and bad photography. By good is meant that photography which accepts all the limitations inherent in photographic technique and takes advantage of the possibilities and characteristics the medium offers. By bad photography is mean that which is done, one may say, with a kind of inferiority complex, with no appreciation of what photography itself offers: but on the contrary, recurring to all sorts of imitations.
The problem is almost everybody is just recording the world with home photographic toys, not doing metaphor or ideas. We have a photographic culture that's not conditioned to think in terms of symbol.
Many artists, having assimilated the Conceptualists' explorations to varying degrees, have reused the painterly model and use photography, quite consciously and systematically, to produce works that stand alone and exist as photographic paintings.
Stars should not be seen alone. That's why there are so many. Two people should stand together and look at them. One person alone will surely miss the good ones.
In most of my photographic pieces I have manipulated the quality of the evidence that people assign to photography, in order to subvert it, or to show that photography lies - that what it conveys is not reality but a set of cultural codes.
The object of leadership may be stated as having a system whereby a leader recognizes what is good for the good of the government, for the good of the nation, for the good of humanity, and recognizes the qualities he has and what he can do within his own limitations. He cannot do, and should not attempt to do, the impossible, but he should not fail to attempt something that might be extremely difficult and may be possible.
With the camera, it's all or nothing. You either get what you're after at once, or what you do has to be worthless. I don't think the essence of photography has the hand in it so much. The essence is done very quietly with a flash of the mind, and with a machine. I think too that photography is editing, editing after the taking. After knowing what to take, you have to do the editing.
What I look at is, do you represent the values of the state of Alaska? Do you represent the people here in terms of what it is that they need, they hope for, what they hope for their future? And Joe Miller simply does not represent that.
By "essence" I understand a universal, of any degree of complexity and definition, which may be given immediately, whether to sense or to thought.... This object of pure sense or pure thought, with no belief superadded, an object inwardly complete and individual, but without external relations or physical status, is what I call an essence.
Any familiarity with photographic history shows that manipulation is integral to photography.
Always, when the words art and artistic are applied to my photographic work, I am disagreeably affected. This is due, surely, to the bad use and abuse made of those terms. I consider myself a photographer, nothing more. If my photographs differ from that which is usually done in this field, it is precisely because I try to produce not art but honest photographs, without distortions or manipulations.
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