A Quote by Idris Khan
Recently, I can't seem to take a straight photograph without thinking that what I am photographing won't be the final image - like the world in front of me is not good enough or something.
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[When] I am taking a photograph, I am conscious that I am constructing images rather than taking snapshots. Since I do not take rapid photographs it is in this respect like a painting which takes a long time where you are very aware of what you are doing in the process. Exposure is only the final act of making the image as a photograph.
How foolish of me to believe that it would be that easy. I had confused the appearance of trees and automobiles, and people with a reality itself, and believed that a photograph of these appearances to be a photograph of it. It is a melancholy truth that I will never be able to photograph it and can only fail. I am a reflection photographing other reflections within a reflection. To photograph reality is to photograph nothing.
When I photograph, I do not think much. If you looked at my contacts you would ask yourself: "What is this guy doing?" But I keep working with my contacts and with my prints, I look at them all the time. I believe that the result of this work stays in me and at the moment of photographing it comes out, without my thinking of it.
It doesn’t matter if you use a box camera or a Leica, the important thing is what motivates you when you are photographing. What I have tried to do is involve the people I was photographing. To have them realize without saying so, that it was up to them to give me whatever they wanted to give me . . . if they were willing to give, I was willing to photograph.
People aren’t photographing for history any more. It’s for immediate gratification. If you’re photographing to share an image, you’re not photographing to keep it.
I hate having my photograph taken and I try to keep that in mind when I'm photographing other people. But the best photos that I've taken are the ones when people have forgotten that I'm there. If I'm in a recording studio with a musician, for example, maybe I'm not photographing them in the middle of a take but I can just get that stolen moment of them resting and they glance over to me.
If I am good enough and quiet enough, perhaps after all they will let me go; but it’s not easy being quiet and good, it’s like hanging on to the edge of a bridge when you’ve already fallen over; you don’t seem to be moving, just dangling there, and yet it is taking all your strength.
To the vast majority of people a photograph is an image of something within their direct experience: a more-or-less factual reality. It is difficult for them to realize that the photograph can be the source of experience, as well as the reflection of spiritual awareness of the world and of self.
When someone really hears you without passing judgment on you, without trying to take responsibility for you, without trying to mold you, it feels damn good. . . . When I have been listened to and when I have been heard, I am able to re-perceive my world in a new way and to go on. It is astonishing how elements which seem insoluble become soluble when someone listens. How confusions which seem irremediable turn into relatively clear flowing streams when one is heard.
For me, when I watch something without music, I'm instantly thinking, "Okay, what am I going to do here? How am I going to convey this?" I take notes and really think about that.
Not that I feel like I have a lack of confidence, it's just good to stand up in front of people who don't really know what to expect. Am I going to say something? Am I going to sing? And often when I do say anything it gets a laugh, because everyone's already used to laughing. So I can seem like I'm actually a funny person.
Noon-day sunshine cinema-ized the site, turning the bridge and the river into an over-exposed picture. Photographing it with my Instamatic 400 was like photographing a photograph. The sun became a monstrous light-bulb that projected a detached series of stills through my Instamatic into my eye.
One of the magical things about photography is the transformation that takes place when you photograph something. Something that inherently has very little going for it in terms of the interest you take in it, can become infinitely more interesting when rendered as a photograph. It's no longer a building. It's a photograph.
If you start doubting yourself like that, thinking, 'Am I good enough?' - maybe there is a reason you're thinking that.
A photograph is not only an image (as a painting is an image), an interpretation of the real; it is also a trace, something directly stenciled off the real, like a footprint or a death mask.
I'm more interested in photographing people who have done something, like writers or directors - even billionaires - as long as I can study them before I photograph them.
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