A Quote by Dorothea Lange
We know by now how to photograph poor people. What we don't know is how to photograph affluence - whose other face is poverty.
Related Quotes
How foolish of me to believe that it would be that easy. I had confused the appearance of trees and automobiles, and people with a reality itself, and believed that a photograph of these appearances to be a photograph of it. It is a melancholy truth that I will never be able to photograph it and can only fail. I am a reflection photographing other reflections within a reflection. To photograph reality is to photograph nothing.
What if I said that every photograph I made was set up? From the photograph, you can't prove otherwise. You don't know anything from the photograph about how it was made, really.
I do not photograph for ulterior purposes. I photograph for the thing itself - for the photograph - without consideration of how it may be used.
A photograph never grows old. You and I change, people change all through the months and years but a photograph always remains the same. How nice to look at a photograph of mother or father taken many years ago. You see them as you remember them. But as people live on, they change completely. That is why I think a photograph can be kind.
I'm actually not so sure what I'm hoping to find making photographs. You always want to come back with an image that's interesting visually, and you hope to get something from the person you photograph that's different than other images you know of these people. I don't know how I go about it. I also don't know how exactly what I set out to get other than these two things.
Look at the things around you, the immediate world around you. If you are alive, it will mean something to you, and if you care enough about photography, and if you know how to use it, you will want to photograph that meaningness. If you let other people's vision get between the world and your own, you will achieve that extremely common and worthless thing, a pictorial photograph.
You've got a number of things that take place that are peculiar to still photography. One: how a picture looks - what you photograph is responsible for how a photograph looks. In other words, it's responsible for the form.
I like to put a single photograph in different contexts, to see how it takes on other meanings, how being locked in a new dialogue exposes another potential. It's like dating other people in order to get to know yourself.
People put barriers up in your path, and one of those barriers is age. They tell you, "You're too old. You don't photograph so well anymore." I know I don't photograph so well anymore, so what can I do? I can do something different, where it doesn't matter as much how I look.
When you photograph people in color you photograph their clothes. When you photograph people in black and white, you photograph their soul!
Someone said to me, early on in film school... if you can photograph the human face you can photograph anything, because that is the most difficult and most interesting thing to photograph.
When I say I want to photograph someone, what it really means is that I'd like to know them. Anyone I know I photograph.
I guess my choice of medium depends on how I want to interpret the idea. Sometimes the interpretation works best in a photograph, and then sometimes it works best in a drawing. But most often times, with the work, everything starts with the diorama with the photograph. Then I'm just filtering out ideas and images from the photograph and reinterpreting them in other mediums.
I know, for myself, I have a very distinct style, and I know what I like, and I know what I don't like. But it has been a process of learning how to cater to the different events that happen with Hollywood and how you might want to dress for red carpet and what things photograph well.
I don't really remember the day when I stood behind my camera with Henry Kissinger on the other side. I am sure he doesn't remember it either. But this photograph is here now to prove that no amount of kindness on my part could make this photograph mean exactly what he.. or even I.. wanted it to mean. It's a reminder of the wonder and terror that is a photograph.
Robert was concerned with how to make the photograph, and I with how to be the photograph.
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