A Quote by Jean-Luc Godard
When you photograph a face . . .you photograph the soul behind it.
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When you photograph people in color you photograph their clothes. When you photograph people in black and white, you photograph their soul!
Someone said to me, early on in film school... if you can photograph the human face you can photograph anything, because that is the most difficult and most interesting thing to 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.
I don't really remember the day when I stood behind my camera with Henry Kissinger on the other side. I am sure he doesn't remember it either. But this photograph is here now to prove that no amount of kindness on my part could make this photograph mean exactly what he.. or even I.. wanted it to mean. It's a reminder of the wonder and terror that is a photograph.
I do not photograph for ulterior purposes. I photograph for the thing itself - for the photograph - without consideration of how it may be used.
What if I said that every photograph I made was set up? From the photograph, you can't prove otherwise. You don't know anything from the photograph about how it was made, really.
The photograph is a tool used to take you back to a certain point in one's life, to remember a face or a place you once stood. I feel there is always something quite melancholic about a photograph.
To go and photograph an airbase is not only to photograph something but it is to insist on one’s right to photograph. You’re flexing that right.
I always wanted to make an abstract photograph. I would photograph walls, sports interiors, marks on the walls people made. Even looking back it makes so much sense. It's like it was a fight against the photograph.
A photograph never grows old. You and I change, people change all through the months and years but a photograph always remains the same. How nice to look at a photograph of mother or father taken many years ago. You see them as you remember them. But as people live on, they change completely. That is why I think a photograph can be kind.
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.
Perhaps the first photograph ever taken, Niépce's view of the rooftops over Saint-Loup-de-Varennes, was a truly pure photograph. The second one he took, he was already comparing nature to the first photograph he had taken.
A photograph is a photograph. When I am making a picture I am just interested in making a very interesting photograph. I don't care where it's going to go.
We know by now how to photograph poor people. What we don't know is how to photograph affluence - whose other face is poverty.
As far as the surface is concerned - oil on canvas, conventionally applied - my pictures have little to do with the original photograph. They are totally painting (whatever that may mean). On the other hand, they are so like the photograph that the thing that distinguished the photograph from all other pictures remains intact.
If you look at a photograph, and you think, 'My isn't that a beautiful photograph,' and you go on to the next one, or 'Isn't that nice light?' so what? I mean what does it do to you or what's the real value in the long run? What do you walk away from it with? I mean, I'd much rather show you a photograph that makes demands on you, that you might become involved in on your own terms or be perplexed by.
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