A Quote by Errol Morris
Part of the mystery of any given photograph is the fact that it was taken at a certain time and in a certain place and time keeps moving on. A photograph might be a moment in time preserved, but the world continues to change around it.
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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.
The moment you make a photograph you consign whatever you photograph to the past as that specific moment no longer exists, it is history. The photography that I practice takes place in a specific time and place, depicting real moments in people's lives. In some ways I think of myself as a historian, but not of the word. History is most often written from a distance, and rarely from the viewpoint of those who endured it.
So much of history is mystery. We don't know what is lost forever, what will surface again. All objects exist in a moment of time. And that fragment of time is preserved or lost or found in mysterious ways. Mystery is a wonderful part of life.
It is hard to avoid the aspect of time when producing what ones sees as a photograph.... my images [are] something that is not a frozen moment, but an image made up of many moments and that is created over time rather than taken.
The photograph is a tool used to take you back to a certain point in one's life, to remember a face or a place you once stood. I feel there is always something quite melancholic about a photograph.
The decisive moment, the popular Henri Cartier-Bresson approach to photography in which a scene is stopped and depicted at a certain point of high visual drama, is now possible to achieve at any time. One's photographs, years later, may be retroactively rephotographed by repositioning the photographer or the subject of the photograph, or by adding elements that were never there before but now are made to exist concurrently in a newly elastic sense of space and time.
A photograph to me is always a reminder of how the person was on a certain day in that certain light fixed. When I look at a watercolor of that same person, it seems to me alive, more open than a photograph.
I've definitely done things to change my behaviour. There are certain things you can't do when you get to a certain level in what you do. When it gets to a certain time, you're a story to somebody. It is something I have taken on board.
Perhaps the first photograph ever taken, Niépce's view of the rooftops over Saint-Loup-de-Varennes, was a truly pure photograph. The second one he took, he was already comparing nature to the first photograph he had taken.
A portrait is not a likeness. The moment an emotion or fact is transformed into a photograph it is no longer a fact but an opinion. There is no such thing as inaccuracy in a photograph. All photographs are accurate. None of them is the truth.
The photograph keeps open the instants which the onrush of time closes up forthwith; it destroys the overtaking, the overlapping, the metamorphosis of time.
The magic possibility of framing a certain space and time is what brought me to photography. This process of recording elements of 3 dimensions in the flow of time, and fixing them in a 2 dimensional image, creates a new context for the elements of the photograph.
Polaroid material has the most beautiful quality - the colors on one side, but then the magic moment in witnessing the image to appear. The time stands still and the act of watching the image develop can be shared with the people around you. In the fast world of today it's nice to slow down for a moment. At the same time Polaroid slows time, it also captures a moment which becomes the past so instantly that the decay of time is even more apparent - it gives the image a certain sentimentality or melancholy.
I come unprepared to shooting. I don't have lights, I don't have assistants, I just go and meet somebody and take a photograph. That's really basic, and that's how I used to work when I was 17 or 18 in Holland. I was given very little time to photograph people and I was very scared.
Time it was And what a time it was, it was A time of innocence A time of confidences Long ago it must be I have a photograph Preserve your memories They're all that's left you
Cartier-Bresson has said that photography seizes a 'decisive moment', that's true except that it shouldn't be taken too narrowly...does my picture of a cobweb in the rain represent a decisive moment? The exposure time was probably three or four minutes. That's a pretty long moment. I would say the decisive moment in that case was the moment in which I saw this thing and decided I wanted to photograph it.
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