A Quote by Anna Wintour
Print publications have to be as luxurious an experience as possible. You have to feel it coming off the page. You have to see photographs and pieces that you couldn't possibly see anywhere else.
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When you come into my pieces, it's not an intellectual experience, it's a physical experience. It's coming at your body. There's light, there's sound, the lights in some pieces are going on and off. There's loud roaring sound happening.
Let me tell you who we conservatives are: we love people. When we look out over the United States of America, when we are anywhere, when we see a group of people, such as this or anywhere, we see Americans. We see human beings. We don't see groups. We don't see victims.
In music I still prefer the minor key, and in printing I like the light coming from the dark. I like pictures that surmount the darkness, and many of my photographs are that way. It is the way I see photographically. For practical reasons, I think it looks better in print too.
I see history in Pentateuch. I see revealed truth in it. I see in it human holiness as much as divine inspiration. Wherever you open it, any page, you know that you are in the presence of something that exists nowhere else.
The sheer sensory experience of San Francisco is unlike anywhere else. Not just the physical beauty, but the textures, the feel, the wind, the ocean. It's a monumental feeling unrivaled by anywhere else. Its a world class, gorgeous city. And the coffee is great.
Africa - You can see a sunset and believe you have witnessed the Hand of God. You watch the slope lope of a lioness and forget to breathe. You marvel at the tripod of a giraffe bent to water. In Africa, there are iridescent blues on the wings of birds that you do not see anywhere else in nature. In Africa, in the midday heart, you can see blisters in the atmosphere. When you are in Africa, you feel primordial, rocked in the cradle of the world.
I'm sad to see celluloid go, there's no doubt. But, you know, nitrate went, by the way, in 1971. If you ever saw a nitrate print of a silent film and then saw an acetate print, you'd see a big difference, but nobody remembers anymore. The acetate print is what we have. Maybe. Now it's digital.
You go into Wal-Mart, and you see stuff you typically wouldn't see anywhere else.
My first pieces, in an art context, were ways to get myself off the page and into real space. These photographic pieces were ways to, literally, throw myself into my environment. They were photographs not of an activity, but through an activity; the activity (once I planted a camera in the instrument of that activity - once I, simply, held a camera in my hands) could produce a picture.
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.
British men are peacocks. You see a lot more style on the streets here than you see anywhere else, on every level.
From taking photographs of George and Charlotte, I have been struck by the wonderful lack of self-consciousness that you see in photographs of children, without the self-awareness that adults generally feel.
If I see something dubious, say on a blog or a Web site, and I don't see it anywhere else, I'll just go right to the source and check it out.
People want to download publications quickly and read them without cruft. Publications that started in print carry too much baggage and usually have awful apps. 'The Magazine' was designed from the start to be streamlined, natively digital, and respectful of readers' time and attention.
A good print is really essential. I want to take strong documentary photographs that are as good technically as any of the best technical photographs, and as creative as any of the best fine-art photographs. [...] I don't want to just be a photo essayist; I'm more interested in single images...ones that I feel are good enough to stand on their own.
Our Lord God doeth work like a printer who setteth the letters backwards; we see and feel well his setting, but we shall see the print yonder - in the life to come.
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