A Quote by Albert Renger-Patzsch
... modern life is no longer thinkable without photography.
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Without my photography life would be boring. Photography adds an extra dimension to my life. Somehow it confirms my place in the world
Now that photography is a digital medium, the ghost of painting is coming to haunt it: photography no longer retains a sense of truth. I think that's great, because it frees photography from factuality, the same way photography freed painting from factuality in the mid-nineteenth century.
[Photography] has become more and more subtle, more and more modern, and the result is that it is now incapable of photographing a tenement or a rubbish heap without transfiguring it. Not to mention a river dam or electric cable factory: in front of these, photography can now only say, How beautiful!
The three horrors of modern life - talk without meaning, desire without love, work without satisfaction.
For Death must be somewhere in a society; if it is no longer (or less intensely) in religion, it must be elsewhere; perhaps in this image which produces Death while trying to preserve life. Contemporary with the withdrawal of rites, Photography may correspond to the intrusion, in our modern society, of an asymbolic Death, outside of religion, outside of ritual, a kind of abrupt dive into literal Death.
With photography, everything is in the eye and these days I feel young photographers are missing the point a bit. People always ask about cameras but it doesn't matter what camera you have. You can have the most modern camera in the world but if you don't have an eye, the camera is worthless. Young people know more about modern cameras and lighting than I do. When I started out in photography I didn't own an exposure meter - I couldn't , they didn't exist! I had to guess.
Perhaps 'photography' has become so all-pervasive that it no longer makes sense to think about it as a discreet practice or field of inquiry. In other words, perhaps 'photography,' as a meaningful cultural trope, is over.
Epistemology without contact with science becomes an empty scheme. Science without epistemology is-insofar as it is thinkable at all-primitive and muddled.
A language not based on universal symbols or sensations is gibberish, a pitfall of modern art, no longer modern.
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.
What would life be without art? Science prolongs life. To consist of what-eating, drinking, and sleeping? What is the good of living longer if it is only a matter of satisfying the requirements that sustain life? All this is nothing without the charm of art.
To do justice to modern technology's rigid linear structure, to the lofty gridwork of cranes and bridges, to the dynamism of machines operating at one thousand horsepower - only photography is capable of that. What those who are attached to the painterly style regard as photography's defect, the mechanical reproduction of form - is just what makes it superior to all other means of expression.
A fact of modern life is that it takes women longer to get ready than men.
Life without hope, the slavery of mankind-a bondage so hopeless that slaves will no longer know they are slaves. Wealth without happiness, abundance without the power to enjoy it. The death of the spirit.
Modern photography must do more than entertain, it must incite thought and by its clear statements of actuality, cultivate a sympathetic understanding of men and women and the life they live and create.
The Western democracy of today is the forerunner of Marxism which without it would not be thinkable. It provides this world plague with the culture in which its germs can spread.
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