A Quote by Gabriel Orozco
You see what you understand, You have to be prepared to see the world. The moment of clicking the camera is almost irrelevant. What is really important is what happens before and after you take the picture.
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Before the camera, you only had secondhand takes - someone had to tell you what they saw or draw a picture of it or sing a song. Because of the camera, sometimes to our horror, we now know everything that happens in the world - things that before we were sheltered from.
I think it’s very important to live in the present. One of the great things that improvising teaches you is the magic of the moment that you’re in … because when you improvise you’re in right now. You’re not in yesterday or tomorrow—you’re right in the moment. Being in that moment really gives you a perspective of life that you never get at any other time as far as learning about your ego… You have to see your unimportance before you can see your importance and your significance to the world.
For me, what was important was to record everything I saw around me, and to do this as methodically as possible. In these circumstances a good photograph is a picture that comes as close as possible to reality. But the camera never manages to record what your eyes see, or what you feel at the moment. The camera always creates a new reality.
Being an artist, I had an artist's instincts.You can see the picture before it's taken; then it's up to you to get the camera to see
Never shop alone for your bridal dress. Take a friend and bring a camera to take a picture of you. Make sure to get a picture of the back view: that's the part of the dress most people are going to see for the longest time.
Woody Allen has a wonderful line: 'Today I'm a star. What will I be tomorrow? A black hole?' That's very important to know - that you have the moment, then you lose the moment. You have to see your chances, you have to take them, and you also have to see when you don't have chances to take.
But every so often we'll get to this place where everyone in the room is fully focused on what's happening. You see it happens in sports sometimes, when there's a really important moment. It's a great thing when you can get to those places, when you look up you don't see a bunch of phones out.
I scroll through Instagram and Twitter, and whenever I see something that speaks to me, I take a screenshot to save it for red carpet inspiration. Sometimes, if I see an outfit I like on the street, I'll take a picture, too. References are so important.
Realism and superrealism are what I'm after. This world is full of things the eye doesn't see. The camera can see more, and often 10 times better.
Even if you're walking through the airport or going to pick up your mail, if you meet a fan and they have a camera, they will take a picture of you and millions could potentially see that picture - if it's picked up by a blog or whatever.
I think that anybody who's anti-selfie is really just a hater. Because, truthfully, why shouldn't people take pictures of themselves? When I'm on Instagram and I see that somebody took a picture of themselves, I'm like, 'Thank you.' I don't need to see a picture of the sky, the trees, plants. There's only one you.
If I'm traveling, I'll take a film camera and a digital camera because sometimes there are moments where, if you've lost it, or if coming back and it accidentally goes through the X-ray machine and it gets overexposed, you might have had a really important moment to you and you would be really upset that you didn't have a back-up.
For me, trying to articulate the world to help people see it in a way they haven't seen it before is hugely important. Sometimes, you have to take something that is completely inexplicable and say, 'Look, here is the beating heart of something you must understand.'
It's a hard job to get the camera to see it like you see it. Sometimes you have it just the way you want it, and then you look in the camera and you don't have the balance. The main thing is to get the camera to see it the way you see it.
When I started out, it was this sense of, "Let's put out a record and see what happens and see where you go and see how you feel and where we can take it." That was a very different world back then.
When the photographer is nearby, I like to say, 'Quick, get a photo of me looking into the camera,' because I'm never looking into the camera. Christopher Nolan looks into the camera, but I think most directors don't, so whenever you see a picture of a director looking at the camera, it's fake.
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