A Quote by E. J. Hughes

I hope my work isn't dismissed by the critics as illustration or photography. — © E. J. Hughes
I hope my work isn't dismissed by the critics as illustration or photography.
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.
If we choose a weak and foolish speculation as a primary textbook illustration (falsely assuming that the tale possesses a weight of history and a sanction of evidence), then we are in for trouble - as critics properly nail the particular weakness, and then assume that the whole theory must be in danger if supporters choose such a fatuous case as a primary illustration.
Typography can be as exciting as illustration and photography.
I majored in illustration at the Rhode Island School of Design, although I never had any intention of being an illustrator and didn't take any classes in illustration there. It was just that the illustration degree had no requirements.
The photography is not the aim of the work; the articulation of the work through photography is another way of understanding what's going on and what's happening outside.
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.
Science fiction is not a genre that has much respect in China. Critics have long been discouraged from paying attention to the category, dismissed as a branch of juvenile literature.
Barack Obama's victories in 2008 and 2012 were dismissed by some of his critics as merely symbolic for African Americans. But there is nothing 'mere' about symbols.
People think I'm against critics because they are negative to my work. That's not what bothers me. What bothers me is they didn't see the work. I have seen critics print stuff about stuff I cut out of the film before we ran it. So don't tell me about critics.
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.
The gospel is not just the illustration (even the best illustration) of an idea. It is the story of actions by which the human situation is irreversibly changed.
As an author, you can't expect a movie to be an illustration of the book. If that's what you hope for, you shouldn't sell the rights.
I don't know that there were any rules for documentary photography. As a matter of fact, I don't think the term was even very precise. So as far as I'm concerned, the kind of photography I did in the FSA was the kind of photography I still do today, because it is based on passionate concern for the human condition. That is the basis of all the work that I do.
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.
There's good directors and bad directors. Some of the critics are really conscientious and really try to do what they can popularize the work or to explain the work and so on. And then there's the critics who just wants to make a reputation by attacking. Those are the ones I'm not keen on.
In the Bible (Hebrews, 6:19), hope is ‘an anchor of the soul, both sure and stedfast, and which entereth into that within the veil.’ Here [in Watts painting], Hope is blindfolded, seated on a globe and playing a lyre of which all but one of the strings are broken . . . Hope’s attempts to make music appear futile and several critics argued that the work might have been more appropriately titledDespair. Watts explained that ‘Hopeneed not mean expectancy. It suggests here, rather, the music which can come from the remaining cord’.
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