A Quote by Ben Shahn

I became interested in photography when I was sharing a studio with Walker Evans, and found my own sketching was inadequate. — © Ben Shahn
I became interested in photography when I was sharing a studio with Walker Evans, and found my own sketching was inadequate.
I became interested in photography when I found my own sketching was inadequate.
In the 1930s, photographers such as Walker Evans and Dorothea Lange produced images of sharecroppers and Okies, which drew attention both to the conditions in which these unfortunates found themselves and to their heroic fortitude.
I was born in Seoul, South Korea; then I moved to New York City at the age of seventeen. In New York, I studied art and photography. I thought I would be a painter; then I saw Walker Evans when I was in college, and that had a great impact on me. Being in the darkroom making B&W prints was such a magical experience.
I became interested in photography during my first visit to the United States. I was a student at a university in Holland. I was overwhelmed by the beauty of the American West. That was when I learned about the tradition of nature in American photography.
When I first became interested in photography, I thought it was the whole cheese. My idea was to have it recognized as one of the fine arts. Today I don't give a hoot in hell about that. The mission of photography is to explain man to man and each man to himself.
When I was studying photography, I became interested in conflict photojournalism, and that got me interested in lighting. Then I realized there was this amazing thing called cinematography where you could kind of tell more complete stories photographing for film. So I ended up going to AFI grad school for that.
I have always found photography magical, and became more taken with it whilst modeling.
I wasn't, like, this top model; I was quietly doing my work, and when I became an actress, people started doing research, and everybody found out. People dug out photos, and suddenly people became interested - but no one was interested in my photos when I was a model.
For me, between "Reference" and "Sketching & Conceptualizing" is the "Get the Hell Out of the Studio" step. I most often NEED to shut off the computer, push myself back from my desk and escape the studio space to let possible ideas percolate in my gray matter before committing anything to paper or digital imagery as a sketch or a concept.
I became frustrated early on as a playwright by a kind of smug smallness in modern drama. There was a lack of what I now understand as courage in the work of others as well as in my own work, and I found I was mildly amused or interested by such plays but not deeply engaged or enlightened.
I think photography was inside me. Once I found it, it became stronger than me and I took refuge in it.
So when I became interested in photography and further being inspired by the work that I saw of Ansel and others, it was a natural extension to go back to these places that I knew as a kid and explore them with my camera.
To my father, art had no restrictions. He was a true 'American Primitive.' He greatly enjoyed sketching and photography, carrying a camera with him whenever he could.
A studio session ... provides the greatest chance for control. Even though there is total freedom, I still dislike studio photography and the contrived images that usually stem from this genre.
I was never that into the movies. Never. Even as a youngster. I became interested in movie music only because of the studio orchestras in Hollywood.
The recollection of how, when and where it all happened became vague as the lingering strains hung in the rafters of the studio. I wanted to shout back at it, Maybe I didn't write you, but I found you.
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