A Quote by Antony Armstrong-Jones

If you recognize a photograph by me, I'm a failure. — © Antony Armstrong-Jones
If you recognize a photograph by me, I'm a failure.
I walk in the park every day, and when people come and ask for a photograph, I say, "Oh, my God!" It means they recognize that I have been doing something right and they want to have a photograph taken with me.
I have a photograph of myself when I was 2 years of age, and I don't recognize the person in the photograph. She doesn't look anything like me, and I can't find any trace of her in me physically. And yet I remember her very, very well - even her anxiety.
How foolish of me to believe that it would be that easy. I had confused the appearance of trees and automobiles, and people with a reality itself, and believed that a photograph of these appearances to be a photograph of it. It is a melancholy truth that I will never be able to photograph it and can only fail. I am a reflection photographing other reflections within a reflection. To photograph reality is to photograph nothing.
Someone said to me, early on in film school... if you can photograph the human face you can photograph anything, because that is the most difficult and most interesting thing to photograph.
I don't recognize hate, I don't recognize bitterness, I don't recognize jealousy, I don't recognize greed. I don't give them power. They don't exist to me.
Failure to believe stems from moral failure to recognize the truth, not from want of evidence, but from willful neglect or distortion of the evidence.
The failure of academic feminists to recognize difference as a crucial strength is a failure to reach beyond the first patriarchal lesson. In our world, divide and conquer must become define and empower.
To see, to hear, means nothing. To recognize (or not to recognize) means everything. Between what I do recognize and what I do not recognize there stands myself. And what I do not recognize I shall continue not to recognize.
When you photograph people in color you photograph their clothes. When you photograph people in black and white, you photograph their soul!
I do not photograph for ulterior purposes. I photograph for the thing itself - for the photograph - without consideration of how it may be used.
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.
I never look for a photograph. The photograph finds me and says, I'm here! and I say, Yes, I see you. I hear you.
I was invited to photograph Hollywood. They asked me what I would like to photograph. I said, Ugly men.
Risk managers and investment bankers and actually, all kinds of investors took on more risk than they expected. So there was a failure of risk management. There was a failure to recognize how much risk there was in some of these securities that people bought.
What if I said that every photograph I made was set up? From the photograph, you can't prove otherwise. You don't know anything from the photograph about how it was made, really.
You have to be willing to recognize failure.
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