A Quote by E. J. Hughes
If I didn't have a conviction that a serious painter can portray Nature more profoundly than the best colour photography, I'd probably give it all up or go abstract or take up photography.
Related Quotes
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.
I may be wrong, but the essential illustrative nature of most documentary photography, and the worship of the object per se, in our best nature photography, is not enough to satisfy the man of today, compounded as he is of Christ, Freud, and Marx.
Photography has become so fundamental to the way we see that 'photography' and 'seeing' are becoming more and more synonymous. The ubiquity of photography is, perhaps ironically, a challenge to curators, practitioners, and critics.
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.
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.
I never felt in competition with anybody in war photography. You're lucky to get your ass in and out again. It's as simple as that. It's the easiest photography in the world to shoot somebody who's been shot up. It doesn't take a genius. That's easy. The only thing you need to know is your photography. Get in and if you're lucky get out. And get as close as you can get.
The French have a different take on photography than Americans do. They consider photography to be absolutely parallel to literature. That often makes for a deeper perception of the work.
Photography is more than a window for me. Photography is more like a space that tries to capture situations.
I believe that street photography is central to the issue of photography—that it is purely photographic, whereas the other genres, such as landscape and portrait photography, are a little more applied, more mixed in the with the history of painting and other art forms.
First you study photography, then you practice photography, then you serve photography, and finally one becomes photography.
I came up in photography, and Dust Bowl-era photography is a lot of the reason that I got behind the camera in the first place.
Photography and writing are marvelous distractions from painting. I might even have found movies more interesting than photography. I tried it a bit, but not enough.
Photography promises an enhanced mastery of nature, but photography also threatens conflagration and anarchy.
In a world and a life that moves so fast, photography just makes the sound go out and it makes you stop and take a pause. Photography calms me.
Now that photography is a digital medium, the ghost of painting is coming to haunt it: photography no longer retains a sense of truth. I think that's great, because it frees photography from factuality, the same way photography freed painting from factuality in the mid-nineteenth century.
In photography we possess an extraordinary instrument for reproduction. But photography is much more than that. Today it is [a method for bringing optically] some thing entirely new into the world.
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