[A photograph] is a part of the evidence. I'm not saying it's the truth - it's part of the evidence.
In a faraway land called 'pre-2000,' what Earthlings now call blogging was called 'keeping a diary.' It's hard work to do well. I tried doing it in the early 1990s but had to stop because I no longer had a life - instead I had this thing that generated anecdotes to go into my diary. The diary took over and I had to stop.
A photograph presents itself not only as a visual representation, but as evidence, more convincing than a painting because of the unimpeachable mechanical means whereby it was made. We do not trust the artist's flattering hand; but we do trust film, and shadows, and light.
[The Rum Diary] is a prestigious movie and it's got a great, talented cast, so they wanted to make sure they had the right person for the role, but it was a torturous process. It was painful.
Fashion matters to the degree that it is, for the sighted person, the first language we speak to each other. We are... "judge" is a very harsh word, but we're taking in and we're evaluating. Who is this person? What do I have in common? Do I respect them? All of that is that unspoken visual impact.
An eyewitness account is evidence that an artist has proposed a work of art. But documentary evidence (i.e. a photograph) is more conclusive.
Every photograph is the result of a physical imprint transferred by light reflections onto a sensitive surface. The photograph is thus a type of icon, or visual likeness, which bears an indexical relationship to its object.
I've had three Eurovision winners: two with Johnny Logan and one with Linda Martin and even Jedward did great, because 'Lipstick' was a great song and they had a great show. It was a great visual.
Unlike any other visual image, a photograph is not a rendering, an imitation or an interpretation of its subject, but actually a trace of it. No painting or drawing, however naturalist, belongs to its subject in the way that a photograph does.
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.
I think I’ve said this before many times—that photography allows you to learn to look and see. You begin to see things you had never paid any attention to. And as you photograph, one of the benefits is that the world becomes a much richer, juicier, visual place. Sometimes it is almost unbearable — it is too interesting. And it isn’t always just the photos you take that matters. It is looking at the world and seeing things that you never photograph that could be photographs if you had the energy to keep taking pictures every second of your life.
He was right. They could have a whole conversation without exchanging a word. And the conversation they had right now went like this: Colin, shut it. I don’t think I will, M. Then I’ll make you. Really? How?I’m not certain, but it will be slow and painful. And I won’t leave any evidence.
I do believe in angels and I believe that a lot of these people I'm supposed to meet. The photograph serves as evidence; it causes me to reflect on when I met this person.
I have been interested in visual arts since high school and, after realising that I had absolutely no interest in the economics degree I had undertaken at ANU, I started a BFA in Sydney which I completed at VCA in Melbourne.
There's a part of me that wishes I had gone to school and gotten a business degree, because I almost wonder if that wouldn't be more helpful than my theater degree, in some ways.
I always kept a diary - not a diary like, 'Dear Diary, we got up at 5 A.M., and I wore the weird hair again and that white dress! Hi-yeee!' I'd just write.