A Quote by Geoffrey Batchen

Human experience comes suspended in the sickly-sweet amniotic fluid of commercial photography. And a world normally animated by abrasive differences is blithely reduced to a single, homogeneous National Geographic way of seeing.
I love National Geographic. Just when you think you've seen the last lost native tribe, National Geographic will find a new one.
I did it once, and National Geographic recruited me. I did it primarily out of curiosity. A lot of legendary photographers had worked on that campaign. Ernst Haas had done the early photography, and I knew him. There's a lore in photography about that campaign, and I was curious.
That's not to say I came from the streets or anything - most of the time I was on my grandmother's back porch. I was kept in a constant state of amniotic fluid.
Photography has become so fundamental to the way we see that 'photography' and 'seeing' are becoming more and more synonymous. The ubiquity of photography is, perhaps ironically, a challenge to curators, practitioners, and critics.
It's so much baby and so much amniotic fluid, it's crazy. If we have a 10 pounder, pray for me!
I was born on a tiny cot in southwestern Massachusetts during World War II. A sickly child, I turned to photography to overcome my loneliness and isolation.
We could teach photography as a way to make a living, and best of all, somehow to get students to experience for themselves photography as a way of life.
I feel like I have a bowling ball sitting on my hoohah! Apparently I have a lot of amniotic fluid, so whenever my water breaks it will be like a fire hydrant!
Love is all around us all the time. Love is the ethers that we swim in. Love is the amniotic fluid of the soul.
Conducting 'Tristan' is like floating in amniotic fluid, but having worked on it for three months, I now know why people who go near it go so strange.
I was asked by a student what my most significant accomplishment was at National Geographic, after thirty years, and I said that my career came to an appropriate close, and I still loved photography. Not everybody who spends their career at anything ends up fascinated and involved with it.
Though Geographic didn't publish that photo in the story that it was done for, "The Life of Charlie Russell," a cowboy artist in Montana. But later, maybe a year and a half ago, they named it one of the 50 greatest pictures ever made at National Geographic.
In the '70s, in Britain, if you were going to do serious photography, you were obliged to work in black-and-white. Color was the palette of commercial photography and snapshot photography.
The vast Pacific ocean would always remain the islanders' great solace, escape and nourishment, the amniotic fluid that would keep them hedonistic and aloof, guarded, gentle and mysterious.
I think that it's workshops, honestly, that have kept me keen about photography, and about my photography. My career as a workshop photographer came while I was at the Geographic in the late 70's, and has continued consistently since then.
"You know you are seeing such a photograph if you say to yourself, "I could have taken that picture. I've seen such a scene before, but never like that." It is the kind of photography that relies for its strengths not on special equipment or effects but on the intensity of the photographer's seeing. It is the kind of photography in which the raw materials-light, space, and shape-are arranged in a meaningful and even universal way that gives grace to ordinary objects."
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