A Quote by Frederick Sommer

Photography is a distributive act leading to a privileged condition. — © Frederick Sommer
Photography is a distributive act leading to a privileged condition.
I don't know that there were any rules for documentary photography. As a matter of fact, I don't think the term was even very precise. So as far as I'm concerned, the kind of photography I did in the FSA was the kind of photography I still do today, because it is based on passionate concern for the human condition. That is the basis of all the work that I do.
The worries that are the burden of which the privileged person makes an excuse in dealing with the oppressed person are in fact the worries about preserving his privileged condition.
One of the leading uses of photography by the mass media came to be called photojournalism. From the late 'twenties' to the early 'fifties' what might have been the golden age of this speciality - photographers worked largely as the possessors of special and arcane skills, like the ancient priests who practiced and monopolized the skills of pictography or carving or manuscript illumination. In those halcyon days the photographer enjoyed a privileged status.
Architecture is the constant fight between man and nature, the fight to overwhelm nature, to possess it. The first act of architecture is to put a stone on the ground. That act transforms a condition of nature into a condition of culture; it's a holy act.
In this, photography is the same thing as love. When my gaze, diving into the sea as my subject, converges with the act of photography, hot sparks fly at the point of intersection.
The writing of a poem is, for me, in the first place, an almost total act of abandon leading to discovery leading to recognition.
I think the Ronald Reagan tax reform proposals are a step toward distributive justice. They redistribute the tax burden more equitably and more progressively among individuals and call upon business to carry a somewhat larger proportion of the total tax load. Both of these are steps toward equity and distributive justice.
It occurs to me that at the beginning one works passionately to learn photography. This takes years, and the craft is usually formed during this period. Then as time passes one finds oneself more in the role of serving the medium... Then, as in the example of several masters that I have been privileged to know personally, it appears that by having devoted oneself totally to the medium, one becomes photography.
There's a reductiveness to photography, of course - in the framing of reality and the exclusion of chunks of it (the rest of the world, in fact). It's almost as if the act of photography bears some relationship to how we consciously manage the uncontrollable set of possibilities that exist in life.
I was writing when I was very young, and then I became interested in everything - I wanted to do photography. I wanted to act. I wanted to write plays, and then I wanted to film and to paint, but I felt that film had a condition that reunites everything.
I like to think of Photography 1.0 as the invention of photography. Photography 2.0 is digital technology and the move from film and paper to everything on a chip. Photography 3.0 is the use of the camera, space, and color and to capture an object in the third dimension.
The central act of photography, the act of choosing and eliminating, forces a concentration on the picture edge - the line that separates in from out - and on the shapes that are created by it.
I have always made a distinction between healing and curing. To me, 'healed' represents a condition of one's life; 'cured' relates strictly to one's physical condition. In other words, there may be healed quadriplegics and AIDS patients, and cured cancer patients who are leading unhealthy lives.
The very act of representation has been so thoroughly challenged in recent years by postmodern theories that it is impossible not to see the flaws everywhere, in any practice of photography. Traditional genres in particular-journalism, documentary studies, and fine-art photography-have become shells, or forms emptied of meaning.
1960, I was 20 years old, and I was leading the U.S. Open. Now, I wasn't leading by several strokes, but I was leading the U.S. Open and playing with Ben Hogan, had a very good chance to win, nine holes to go, I was leading. I was still leading with six holes to play.
First you study photography, then you practice photography, then you serve photography, and finally one becomes photography.
This site uses cookies to ensure you get the best experience. More info...
Got it!