A Quote by David LaChapelle
I'm a photographer, period. I love photography, the immediacy of it. I like the craft, the idea of saying 'I'm a photographer.'
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To us, the difference between the #? photographer as an individual eye and the photographer as an objective recorder seems fundamental, the difference often regarded, mistakenly, as separating photography as art from #? photography as document. But both are logical extensions of what photography means: note-taking on, potentially, everything in the world, from every possible angle.
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.
... the possibility of one particular photographer's pictures lying around the corner is never realized until the photographer is there. It's one of the enigmas of photography.
The two ideas are antithetical. Insofar as photography is (or should be) about the world, the photographer counts for little, but insofar as it is the instrument of intrepid, questioning subjectivity, the photographer is all.
This idea fascinates me. The idea that a few seconds of watching a photographer in action can tell you his/her status in the medium. And it's true. If you watch a photographer of merit working an event he/she does not look like an amateur.
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.
[Photography] underlines the photographer. That's the Barthesian this has been. Well, this has been for the photographer as well. The photographer is the hidden placeholder in the Barthesian equation.
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.
Different levels of photography require different levels of understanding and skill. A "press the button, let George do the rest" photographer needs little or no technical knowledge of photography. A zone system photographer takes more responsibility. He visualizes before he presses the button, and afterwards calibrates for predictable print values.
Any photographer worth his/her salt - that is, any photographer of professional caliber, in control of the craft, regardless of imagistic bent - can make virtually anything look good. Which means, of course, that she or he can make virtually anything look bad - or look just about any way at all. After all, that is the real work of photography: making things look, deciding how a thing is to appear in the image.
Sometimes a photographer is a passenger, sometimes a person who stays in one place. What he watches changes constantly, but his watching never changes. He doesn't examine like a doctor, defend like a lawyer, analyze like a scholar, support like a priest, make people laugh like a comedian, or intoxicate like a singer. He only watches. This is enough. No, this is all I can do. All a photographer can do is watch. Therefore, a photographer has to watch all the time. He must face the object and make his entire body an eye. A photographer is someone who wagers everything on seeing.
Photography has an amazing ability to capture the fine detail of surface textures. But far too often these intricate patterns are loved by the photographer for their own sake. The richness of texture fascinates the eye and the photographer falls easy prey to such quickly-caught complexities. The designs mean nothing in themselves and are merely pictorially attractive abstractions. A central problem in contemporary photography is to bring about a wider significance in purely textural imagery.
One view of photography is that it is a zen-like act which captures reality with its pants down - so that the vital click shows the anatomy bare. In this, the photographer is invisible but essential. A computer releasing the shutter would always miss the special moment that the human sensibility can register. For this work, the photographer's instinct is his aid, his personality a hindrance.
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.
Photography has always reminded me of the second child.. trying to prove itself. The fact that it wasn't really considered an art.. that it was considered a craft.. has trapped almost every serious photographer.
Sven Schumann did an interview with photographer Wolfgang Tillmans in Berlin addressing the question: What is photography today when everyone is a photographer? These kinds of questions and answers you find in a magazine, on paper and not on Instagram. For me this is the essence of a magazine - it's questioning what's going on today and celebrating true creativity without compromise.
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