A Quote by Bob Hope
A photographer kept shooting me every time I swung. I was very flattered until I found out he was from Field and Stream.
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I played the game for 20 years, and I think that kept me on the football field, being adjusted. Getting hit so many times, being all out of whack, and going in to see my chiropractor kept me back on the football field.
It fascinates me that there is a variety of feeling about what I do. I'm not a premeditative photographer. I see a picture and I make it. If I had a chance, I'd be out shooting all the time. You don't have to go looking for pictures. The material is generous. You go out and the pictures are staring at you.
'The Underland Chronicles' is an unnecessary war for a very long time until it becomes a necessary war, because there have been all these points where people could have gotten off the train but they didn't; they just kept moving the violence forward until it's gone out of control.
I didn't know I was cool, but I was very flattered that some of the younger comedy writers came up to talk to me at the Emmys. I found that gratifying.
I kept shooting but started making drafts of the work, essentially spending a few days a month sequencing and editing, hanging things up on the board, showing them to trusted confidantes from in and outside the photo world. It started to take its shape naturally over time until I kind of ran out of ideas.
I was on the wheelchair for six months and lost all hope of returning to the field. I thought my career was over, but my brother kept on encouraging me. 'All that you need to do is to be resolute to return to the field,' he said. These words turned out to be magical.
I pledged myself to smoke but one cigar a day. I kept the cigar waiting until bedtime, then I had a luxurious time with it. But desire persecuted me every day and all day long. I found myself hunting for larger cigars...within the month my cigar had grown to such proportions I could have used it as a crutch.
The stream will not permanently rise higher than the main source; and the main source of national power and national greatness is found in the average citizenship of the nation. Therefore it behooves us to do our best to see that the standard of the average citizen is kept high; and the average cannot be kept high unless the standard of the leaders is very much higher.
Engineering didn't take to me. And what saved me and kept me in college was I ran into ROTC cadets who were in a fraternity called The Pershing Rifles. And I found my place. I found discipline. I found structure. I found people that were like me and I liked.
I'm flattered by the offers I receive, but there's no real strategy to the way I choose what to do these days. If I'm in a good mood and have the time, I'm more likely to consider it. Often the photographer and team are important factors, too.
I didn't have time to lose it. I didn't have time to lie down in the corner shop and scream and beat the floor until my hands bled. I didn't have time to miss Jack. Stroma kept on chattering away and getting excited over novelty spaghetti shapes and finding the joy in every little thing, and it occurred to me even then that she was probably looking after me, too.
When the novice photographer starts taking pictures, he carries his camera about and shoots everything that interests him. There comes a time when he must crystallize his ideas and set off in an particular direction. He must learn that shooting for the sake of shooting is dull and unprofitable.
You can walk as carefully as you want through a mine field; it is still a mine field. But it's also true that if you step up to the plate worrying that you're going to strike out, the odds are that you're going to strike out. Not doing a large ambitious work because you're convinced that Danger Lurks Around Every Corner, the old 'I might be dead this time next year,' is a waste of the Inner Radiance that found you. It's like life insurance. It's betting against yourself. It's blowing out your own flame before someone beats you to it.
My teacher introduced me to this photographer Eugène Atget. He was a French photographer in the late 1800s up until 1927 in Paris. He didn't consider himself an artist, but he was probably one of the artists of the 20th century. This guy documented all of Paris during those years. It's unbelievable. The books are phenomenal. The Museum of Modern Art has all his stuff now and [American photographer] Berenice Abbott saved his work. Not very much is known about his life, but the work is unreal and it totally spoke to me. He was the only artist for a number of years that I cared about at all.
I was shooting all this time. And there was only one guy who helped to pull him. And I had to think whether I was going to keep shooting or help the guy. And so I kept shooting and then they put him in this little clinic, and I photographed through the window while they had to amputate his leg. And I felt very strange because I didn't - I felt I could have helped, but I didn't help. But then I also felt elated that I was getting a shot that would be important to the film.
Before I found my peace, I was way too much in my head. I found myself on the field in my own thoughts. I've learned that there's a time and a place for my thoughts. The most important thing when I'm on the field is to just be in the moment and let it all go.
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