A Quote by Ellen von Unwerth
I like to photograph anyone before they know what their best angles are.
Related Quotes
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.
Alisson is undoubtedly one of the best goalkeepers in the world and he deserves to be put on that pedestal. Him and Manuel Neuer are probably the best two when it comes to angles - those two are the very best in the world at getting their angles right, they don't have to dive because they aren't out of position.
I made a photograph of a garden in Kyoto, the Zen garden, which is a rectangle. But a photograph taken from any one point will not show, well it shows a rectangle, but not with ninety degree angles.
A lot of these angles are really about trying to mimic broadcast sports angles in order to anchor the scene, to sort of normalize it before it becomes abstracted.
You know how the best story angles often spring from that thought you have on reading an article or watching a show - that thought you have before the responsible journalist in you comes up with something boring. I usually recommend people get in touch with their deep 'reptilian brain.'
I try to photograph things that are near to me because I work best among things I know. I'm not concerned with startling anyone or discovering new forms; formal qualities are only tools to help state my message.
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.
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.
Poetry is like a portrait of a moment or person, and the poem is almost like looking at a photograph; it slaps you in the face and kisses you at the same time. Nothing else does that, with that brevity. Songs try to do it, but that's three minutes. A poem, you read it and it kind of changes your life and you don't know how it happened and you can never forget it. It's like the best song lyric, the best line from a film-everything in the world that's short and great put together.
I like using LEGO bricks as a medium because I enjoy seeing people’s reaction to artwork created from something with which they are familiar. …My goal is to elevate this simple plaything to a place it has never been before. I also appreciate the cleanliness of the LEGO® brick. The right angles. The distinct lines. But, from a distance, those right angles and distinct lines offer new perspectives, changing to curves.
I know what I like to use myself. I use Leicas, but when I look at the photograph, I don't ask the photograph questions. Mine or anybody else's. The only time I've ever dealt with that kind of thing is when I'm teaching.
I didn't really know what I was looking at when I first came across Man Ray's 'Dust Breeding,' his photograph of a work by Marcel Duchamp called 'Large Glass.' It looked like an aerial photograph or a view through a microscope.
The best angles and the best stories always hinge on reality. Throughout the history of WWE, all the best storylines have a little touch of what's real behind them.
How could I not love you? No one has ever affected me like you do. When you told me goodbye last month, I tried to let you go. I told myself it was the best thing for you because you wanted it. But you’re wrong, Dori. I’m good for you even if you don’t know it yet. I know because I’ve never been good for anyone before.
I always wanted to make an abstract photograph. I would photograph walls, sports interiors, marks on the walls people made. Even looking back it makes so much sense. It's like it was a fight against the photograph.
Though we cannot SEE angles, we can INFER them, and this with great precision. Our sense of touch, stimulated by necessity, and developed by long training, enables us to distinguish angles far more accurately than your sense of sight, when unaided by a rule or measure of angles.
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