A Quote by Catherine Opie

I'm kind of a twisted social documentary photographer. — © Catherine Opie
I'm kind of a twisted social documentary photographer.
When you say documentary, you have to have a sophisticated ear to receive that word. It should be documentary style, because documentary is police photography of a scene and a murder ... that's a real document. You see, art is really useless, and a document has use. And therefore, art is never a document, but it can adopt that style. I do it. I'm called a documentary photographer. But that presupposes a quite subtle knowledge of this distinction.
I became a photographer in order to be a war photographer, and a photographer involved in what I thought were critical social issues. From the very beginning this was my goal.
Since I come from documentary background and my father is a documentary filmmaker, for me the core essence of cinema is it's social statement. It is somewhat similar to the work of a journalist, just on a different level. This is the kind of cinema I enjoy.
Well, I'm not going to get into that. I think that those kind of distinctions and lists of titles like "street photographer" are so stupid. I'm a photographer, a still photographer. That's it.
I'm a documentary photographer. That's what I've always wanted to be; that's where my heart and soul is.
You kind of form a bond with your subjects, in a way. You're in it together. To a degree that people don't realize, documentary films - or at least the kind of documentary films I'm interested in - are a collaborative undertaking with the subjects.
There's a real difference between a documentary that was all about facts and history and information. People just don't get as engaged in that kind of documentary - they don't fall in love, they don't cry, they don't forget who they are, they don't ride with you. As we realized we had richer, vérité kind of people, what we wanted to do is focus in on the vérité story.
The reason I call myself a documentary photographer is the idea of how photographs contain and participate in history.
I got five kids, and my oldest is a documentary film maker and camera man, and still photographer.
The key fact missed most often by social scientists utilizing documentary films for data, is this: documentary films are not found or reported things; they're made things.
On the same Australian trip, I brought back a pair [of Ugg] for my then boyfriend who was a photographer. He wore them all the time. He used to wear them with Levis twisted jeans and a vintage T-shirt. This is 2002. They looked great on him. I guess it takes a certain kind of man to pull them off but they have other ones that are less typical of this, I think.
In a way my work is documentary. But I am also a photographer who has a distinct style. My photographs are a companion to the reality of the situation.
I need there to be documentary photographers, because my work is meta-documentary; it is a commentary about the documentary use of photography.
If you're a great documentary filmmaker, it doesn't necessarily mean that you're a great narrative filmmaker. There are fantastic documentary filmmakers that can't direct actors. You don't have to do that in a documentary, if it's a real documentary.
You do your work as a photographer and everything becomes past. Words are more like thoughts; the photographer's picture is always surrounded by a kind of romantic glamor - no matter what you do, and how you twist it.
I've never not been sure that I was a photographer any more than you would not be sure you were yourself. I was a photographer, or wanting to be a photographer, or beginning - but some phase of photographer I've always been.
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