A Quote by Francis Meadow Sutcliffe
The person who looks at a photograph as a complete picture, unable to say anything about anything except the facts which existed at the moment of exposure, does not see very far.
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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.
I don't have anything to say in any picture. My only interest in photography is to see what something looks like as a photograph. I have no preconceptions.
Perishability in a photograph is important in a picture. If a photograph looks perishable we say, "Gee, I'm glad I have that moment."
A photograph is a photograph, a picture, an image, an illusion complete within itself, depending neither on words, reproductive processes or anything else for its life, its reason for being.
Any photograph has multiple meanings: indeed, to see something in the form of a photograph is to encounter a potential object of fascination. The ultimate wisdom of the photographic image is to say: “There is the surface. Now think – or rather feel, intuit – what is beyond it, what the reality must be like if it looks this way.’ Photographs, which cannot themselves explain anything, are inexhaustible invitations to deduction, speculation, and fantasy
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.
I had come to the conclusion a long time ago that there was no escape from the labyrinth of contradictions in which we live except by an entirely new road, unlike anything hitherto known or used by us. But where this new or forgotten road began I was unable to say. I already knew then as an undoubted fact that beyond the thin film of false reality there existed another reality from which, for some reason, something separated us. The 'miraculous' was a penetration into this unknown reality.
No matter what he does, one always forgives him. It does not depend upon looks, either – although this actual person is abominably good-looking – it does not depend upon intelligence or character or – anything – as you say, it is just it.
I don't have anything to say in any picture. But you do, from your experience, surmise something. You do give a photograph symbolic content, narrative content... But it's nothing to worry about!
I have this assemblage of small facts, which looks like intelligence but no real depth of knowledge about anything. That's why I'm an actor.
It is so short and jumbled and jangled, Sam, because there is nothing intelligent to say about a massacre. Everybody is supposed to be dead, to never say anything or want anything ever again. Everything is supposed to be very quiet after a massacre, and it always is, except for the birds. And what do the birds say? All there is to say about a massacre, things like "Poo-tee-weet?
When I'm online and I see a picture I want to draw of anybody or anything, a unique angle of them or just something that looks very drawable, I slide it to my desktop and put it in a folder. It just seems like every picture of Trump is a revelation. Any angle. I didn't know a person could look like that. His facial expressions - he really is a cartoon. He's like an instruction manual of how to caricature someone.
The only time you ever have in which to learn anything or see anything or feel anything, or express any feeling or emotion, or respond to an event, or grow, or heal, is this moment, because this is the only moment any of us ever gets. You're only here now; you're only alive in this moment.
I feel that everyone who wants to say anything, do anything, should be able to say anything or do anything, within the limits of not hurting another person.
The popular distinction between 'constructive' and 'destructive' criticism is a sentimentality: the mind too weak to perceive in what respects the bad fails is not strong enough to appreciate in what the good succeeds. To be without discrimination is to be unable to praise. The critic who lets you know that he always looks for something to like in works he discusses is not telling you anything about the works or about art; he is saying 'see what a nice person I am.
I don't even know what an 'It' girl is. As far as I'm concerned, an 'It' girl is somebody who doesn't do anything except go to parties and get her photograph taken.
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