A Quote by Eugene Richards
That's one of the troubles of photography; the implication that what you have in that photograph is the way it is, and of course a year later that's not the way it is. Life moves on and the picture stays. That can be a wonderful idea to be a part of history and on the other hand, you think pictures have a life that they don't have.
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As far as the surface is concerned - oil on canvas, conventionally applied - my pictures have little to do with the original photograph. They are totally painting (whatever that may mean). On the other hand, they are so like the photograph that the thing that distinguished the photograph from all other pictures remains intact.
I think that the exactitude of the photograph has a sort of compelling nature based in its power to duplicate life. But to me the real power of photography is based in death: the fact that somehow it can enliven that which is not there in a kind of stultifying frightened way, because it seems to me that part of one's life is made up of a constant confrontation with one's own death.
There is not a big difference between life and taking pictures... You're in the middle of life, you're living, making love, eating, sleeping - and photography is part of it. And I don't say this because I'm being romantic. I say this because that's just the way it happens to be.
I love this life. I feel like I am always catching my breath and saying, 'Oh! Will you look at that?' Photography has been my way of bearing witness to the joy I find in seeing the extraordinary in ordinary life. You don't look for pictures. Your pictures are looking for you.
The pictures present an improvised view of life as normal. Life is shown as we think we see it but in fact never do. The pictures imitate life to find a way out.
Take up one idea. Make that one idea your life - think of it, dream of it, live on that idea. Let the brain, muscles, nerves, every part of your body, be full of that idea, and just leave every other idea alone. This is the way to success.
When you make motion pictures, each picture is a life unto itself. When you finish and the picture is over, there's an understanding, a realization that we'll never be assembled this way again. That these relationships are severed forever and ever. And each of these films is a little life.
Press information is serious information, but press information is also manipulated by people who want you to think that this and that happened. So it's the old thing that you still cannot trust photography at all or you have to know who is distributing the photograph. In terms of cell phone photography, I think nobody cares about a photograph anymore because they're taking so many pictures just for fun.
Take up one idea. Make that one idea your life. Think of it, dream of it, live on that idea. Let the brain, muscles, nerves, every part of your body, be full of that idea, and just leave every other thought. This is the way to success.
If you finish like a photograph, on the other hand, the picture has as much personality as a photograph.
Pictures are the idea in visual or pictorial form; and the idea has to be legible, both in the individual picture and in the collective context - which presupposes, of course, that words are used to convey information about the idea and the context. However, none of this means that pictures function as illustrations of an idea: ultimately, they are the idea. Nor is the verbal formulation of the idea a translation of the visual: it simply bears a certain resemblance to the meaning of the idea. It is an interpretation, literally a reflection.
I think there's something so wonderful about being part of the process from the seed of the idea to seeing it come to life on a screen. And to have a hand in that creatively, not just showing up as an actor for hire.
No one can really explain in a rational way what makes a good photograph or a bad photograph... This is why the art world will not throw billions of dollars at photography the way it has at painting; and that is what makes it an exciting medium.
I'm very moved by the fact that people are drawn into the pictures and that they do bring their own history and their own interpretation to the photograph. I think that's why they work in a certain way.
I don't think of my characters as bumbling. I think that trouble is what drives a novel, both big troubles and small troubles, and whatever people try to do in life, there are a series of stumbling-blocks in the way, and I think that makes for interesting reading. I think of them as doing their best with the roadblocks that they're given.
Newspaper photographs nowadays are highly tautologous. You'll have an article about, say, stopping the war. And the photograph that will be used is literally a poster that reads "Stop The War." Or you'll have a story about a cash crisis in Barcelona, and the only picture you'll see is an ATM in Barcelona. The problem is actually systemic. On the one hand, you'll have a picture of a soda can to "illustrate" an article about the dangers of sugary drinks. On the other hand, anything that's reasonable in documentary photography is snapped up by the art world and we never see it.
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