A Quote by Damian Loeb
Photorealism was this fantastic movement in like the late '60s and '70s, because photography finally became something that everyone could produce. Photorealism was and should've been a very short element. But the thing is, photography is so satisfying. Certainly when it's well done.
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I don't try to force-feed it or put any things on the images until I'm making a painting. It's not photorealism. Photorealism's goal is to reproduce a photograph. The best photorealism can't beat a printer, and I have a really nice printer. I don't want to go blind doing what a printer can do.
Photorealism's goal is to reproduce a photograph. The best photorealism can't beat a printer, and I have a really nice printer.
Photography was increasingly being seen as something outside the art world. As a sort of illustration. They just fired the director of photography at the Sunday Times Magazine - that's where everyone went with their photo essays in the '60s, '70s, and '80s. It was the place to get published. It is an issue. And I feel it. There's no budget. The budget-holders are very often people who've been to the professional colleges where art is not taught. So art as a part of education is something that's missing - since Thatcher's day, anyway.
When I was in the 12th standard itself, I decided to join the Adyar Film Institute and study photography. I specifically chose photography because I see photography as an applied science. There is an artistic element also in it. If you perfect your scientific element, you can attain certain quality.
There is a lot of social photography being done now to point to the untruth of photography. It's getting very dull now. So, okay photography doesn't tell the truth. So what? Everyone has known this forever.
When I began writing poems, it was in the late 60s and early 70s when the literary and cultural atmosphere was very much affected by what was going on in the world, which was, in succession, the civil rights movement, the antiwar movement, and the women's movement in the 60s, 70s, and into the early 80s. And all of those things affected me and affected my thinking, particularly the Vietnam War.
I collect art on a very modest scale. Most of what I have is photography because I just love it and it makes me happy and it looks good in my home. I also have a pretty big collection of art books mainly, again, on photography. A lot of photography monographs, which is great because with photography, the art itself can be reproduced quite well in book form.
What's happened is that the digital age has made photography more accessible to people. Everyone is a photographer. But to do it [photography] at a certain level, well, there's a skill to it. Still, it's a good time for photography now.
When I go to small races in Denmark, it's what I imagined what F1 would have been like back in the 60s and 70s. After the 70s it became a bit different. But 50s and 60s at least, people were only there because they love it.
I chose makeup over photography because there was something very sensual about makeup that I loved. But photography was always in the back of my mind. That was always something that I was very connected with: looking at magazines, enjoying photography, and then taking pictures myself when I was a kid.
First you study photography, then you practice photography, then you serve photography, and finally one becomes photography.
My photography is very European. In America, I always get the sense that people are comforted by understanding what they're looking at. Photography's quite clear here [in the U.S.], it's very well-explained. My photography's perhaps not as well-explained.
In the '70s, in Britain, if you were going to do serious photography, you were obliged to work in black-and-white. Color was the palette of commercial photography and snapshot photography.
Tactility was rejected in conceptual photography. I embrace the possibilities of my medium. Surface, texture, and tactility is something analog photography can do well, or it is something I can do well in analog photography. It can be hard to know what or who is in control.
I left film because I felt that photography was my art. It was something I could do on my own, whereas film was so collaborative. I thought as a photographer I could make something that was artistic and that was mine, and I liked that. And it wasn't until I got back into film and I have very small crews and I could do very tiny filmmaking that wasn't 100 people that I still felt that I was making something artistic as a filmmaker. So, you know, I'm an artist, and whether it's photography or film, I want my voice to be there and I think my voice is very strong in this film.
I like to think of Photography 1.0 as the invention of photography. Photography 2.0 is digital technology and the move from film and paper to everything on a chip. Photography 3.0 is the use of the camera, space, and color and to capture an object in the third dimension.
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