A Quote by Jay Maisel
Sometimes without shooting a picture germinates in your head. Other times, you keep taking pictures of the same thing and watch the images mature and grow.
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If there is a single factor which separates the best photographers from the wannabes it is the quantity of images which they produce. They seem to be forever shooting. I have watched many of them as they take picture after picture even when they are not photographing. [...] Often these intimate images do not look as though they were taken by the same photographer. And that is their fascination and charm.
I wanted to make pictures that contradicted themselves. I wanted to put one picture on top of another so that there were times when both pictures disappear and other times when they were both manifest. That vibration is basically what the work was about for me - that space in the middle where there is no picture, rather an emptiness, an oblivion.
She wondered: How could people respond to these images if images didn't secretly enjoy the same status as real things? Not that images were so powerful, but that the world was so weak. It could be read, certainly, in its weakness, as on days when the sun baked fallen apples in orchards and the valley smelled like cider, and cold nights when Jordan had driven Chadds Ford for dinner and the tires of her Chevrolet had crunched on the gravel driveway; but the world was fungible only as images. Nothing got inside the head without becoming pictures.
Now I kind of have to watch where I go. I can't just wear whatever when I go out because somebody might want to take a picture. People are, like, taking pictures of me in my car when I'm driving. It's crazy. I kind of hate it sometimes.
I like painting because it's something I never come to the end of. Sometimes I paint a picture, then I paint it all out. Sometimes I'm working on fifteen or twenty pictures at the same time. I do that because I want to - because I like to change my mind so often. The thing to do is always to keep starting to paint, never finishing painting.
You, oh mature ones, keep company solely with other mature ones, and your maturity is so mature that it can only chum up with maturity!
If you've ever had to recall your past in some way and you open a drawer of old photographs that your parents kept, there are always pictures of you smiling and charming, and then a bunch of people you don't know who they are. Could be aunts, uncles, could be the postman for all you know. Who are these people? Your parents are never in the picture, because they are the ones taking them. So you've got these unrelated images that are disconnected from your memories.
In the mirror of your mind all kinds of pictures appear and disappear. Knowing that they are entirely your own creations, watch them silently come and go. Be alert, but not perturbed. This attitude of silent observation is the very foundation of yoga. You see the picture, but you are not the picture.
I don't watch the movies I'm in - ever. Sometimes I keep pictures, but that's it. I used to watch my movies, because I didn't want to be rude to the people making them, but I stopped a few years ago. I think it's pretty common among actors. It's like listening to your own voice, but multiplied by a million.
More than conventional picture books, the notebook format allows me to leap from words to images, and this free-flowing back-and-forth inspires my best work. It reflects the way I think - sometimes visually, sometimes verbally - with the pictures not there just to illustrate the text but to replace it, to tell their own story.
As photographers, we must learn to relax our beliefs. Move on objects with your eye straight on, to the left, around on the right. Watch them grow large as they approach, group and regroup as you shift your position. Relationships gradually emerge and sometimes assert themselves with finality. And that's your picture.
Since I switched to an iPhone, I did start taking pictures of people I like. Until then, I strangely never took pictures. I think the iPhone became this space that was different enough from a "photograph," so I find myself taking pictures of daily things. If someone I dated asked me to take their picture, I would most likely find it disturbing. Perhaps nude pictures would be fun. But that would have to be on an iPhone.
TV is longer form, and that's sometimes a positive, and sometimes a more challenging thing. As an actor, you want to be able to have your character develop or transform in some way. When you're acting on a show over the course of multiple seasons, you get to watch a character really grow and change, and go from one place to an entirely other place.
Sometimes two people could look at the same picture and see different images. Position determines perspective.
Sometimes the picture is more interesting than what is going on. Sometimes the picture is suggestive of greater things in society or the history of what might be connected to the theme in the pictures and those are worth exploring.
Sometimes you don't know if your memory is because you really experienced it or because you look at your old pictures. I have a nice picture of myself held up by my grandfather and my father standing next to me. We all have the same name - we're all called Anton Corbijn. That's something I cherish.
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