A Quote by Edmundo Desnoes
...photography can lie as convincingly as literature or painting. The angle, the selected content, the assumed context.
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For me, the facts in anything are always secondary. You don't lie convincingly with the truth. You lie convincingly with being a good liar.
A film carries six fine arts - it consists of architecture, painting, music, writing or literature, photography and performance. It's a conjecture of all these things and yet based on literature.
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.
Photography has arrived at the point where it is capable of liberating painting from all literature, from the anecdote, and even from the subject. In any case, a certain aspect of the subject now belongs to the domain of photography. So shouldn't painters profit from their newly acquired liberty, and make use of it to do other things?
Photography brought a lot to painting because it forced artists to think about what painting could do that photography couldn't.
As for the various kinds of montage photography, they are in reality not photography at all but a kind of painting in which photography is used - as pastiches of textiles are used in crazy-quilts - to form a mosaic. Whatever value the montage may have derives from painting rather than the camera.
Painting from life is a completely different monster, which I like. But because I've been painting from photography for so long, I've learned my best moves from photography.
This profession [photography] is deserving of attention and respect equal to that accorded painting, literature, music and architecture.
A movie is painting, it's photography, it's literature - because you have to have the screenplay - it's music. Put a different soundtrack to a comedy and it's a tragedy.
I think we seem to remember things in still pictures. I never gave up on painting. When they said painting was dead, I just thought, Well, that's all about photography, and photography's not that interesting, and it's changing anyway.
Humans have changed the landscape so much, but images of the sea could be shared with primordial people. I just project my imagination on to the viewer, even the first human being. I think first and then imagine some scenes. Then I go out and look for them. Or I re-create these images with my camera. I love photography because photography is the most believable medium. Painting can lie, but photography never lies: that is what people used to believe.
There is much virtue in a window. It is to a human being as a frame is to a painting, as a proscenium to a play, as 'form' to literature. It strongly defines its content.
Photography is nature seen from the eyes outward, painting from the eyes inward. Photography records inalterably the single image, while painting records a plurality of images willfully directed by the artist.
I assumed from the outset that photography was already art, and that I and other people working in photography were artists. I understand now that this was a minority point of view.
Writing for children, you do bear a responsibility to not include overt or graphic adult content that they are not ready for and don't need, or to address adult concepts or themes from an oblique angle or a child's limited viewpoint, with appropriate context, without being graphic or distressing.
I was always interested in drawing and painting. I enrolled in college to study painting. But I didn't have any livelihood when I graduated. My mother died very young, and I didn't have any home, so I had to find a way to earn a living. It seemed to me that photography - to the great disappointment, I have to say, of my painting teacher - could offer that. So I went and did a degree in photography, and then after that I could go out and get paid for work. For portraits, things like that.
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