A Quote by Jeff Vespa

My teacher introduced me to this photographer Eugène Atget. He was a French photographer in the late 1800s up until 1927 in Paris. He didn't consider himself an artist, but he was probably one of the artists of the 20th century. This guy documented all of Paris during those years. It's unbelievable. The books are phenomenal. The Museum of Modern Art has all his stuff now and [American photographer] Berenice Abbott saved his work. Not very much is known about his life, but the work is unreal and it totally spoke to me. He was the only artist for a number of years that I cared about at all.
A photographer is a photographer and an artist is an artist. I don't believe in labels or titles. Why should a painter or sculptor who has probably never challenged the rules be an artist just because his title and an art school education automatically make him one.
Leonard [Nimoy] was such a teacher for me. He was one of the most fully realized human beings I have ever known on every level - in his personal life with his personal relationships and his love for his wife and his evolution with his family. Then as an artist, as an actor, as a writer, as a poet, and as a photographer. He never stopped.
I'm in between an installation artist, video artist and photographer. And when you work with nude bodies, you're immediately called a pornographer or a fashion photographer.
It is essential for the photographer to know the effect of his lenses. The lens is his eye, and it makes or ruins his pictures. A feeling for composition is a great asset. I think it is very much a matter of instinct. It can perhaps be developed, but I doubt if it can be learned. To achieve his best work, the young photographer must discover what really excites him visually. He must discover his own world.
Billions of photos are shot every year, and about the toughest thing a photographer can do is invent an original, deeply personal, instantly recognizable visual style. In the early nineties, Wolfgang Tillmans did just that, transforming himself into a new kind of artist-photographer of modern life.
"Do not call yourself an "artist-photographer" and make "artist-painters" and "artist-sculptors" laugh; call yourself a photographer and wait for artists to call you brother."
As an artist, illustrator, and photographer, most of my daily work was formed around the Art & Entertainment business, which was about packaging ideas that looked like they were crafted as artist ideas. In the distributed products, my artist credit was hidden inside the package of the artist or entertainment personality.
Philip Jones Griffith documented the Vietnam War, and through his images that were published in Time Life Magazine, it showed me the horrors of war and at that time, I wanted to be a war photographer, based off his work.
At one with the power of the American landscape, and renowned for the patient skill and timeless beauty of his work, photographer Ansel Adams has been visionary in his efforts to preserve this country's wild and scenic areas, both in film and on Earth. Drawn to the beauty of nature's monuments, he is regarded by environmentalists as a monument himself, and by photographers as a national institution. It is through his foresight and fortitude that so much of America has been saved for future Americans.
I never planned to be a model at all. I moved to Paris to study art, and I was there working as an artist, taking classes, and I had a little sick dog that I was using up all of my money to try and heal. It was right at that point that this photographer, Errol Sawyer, saw me at the phoning office and convinced me to let him take my photo.
I guess you can be a supermodel today just by building followers. You don't necessarily have to do the work of going to Milan and then to Paris or New York, trying to find the right photographer, artist, or designer to see you.
Sometimes a photographer is a passenger, sometimes a person who stays in one place. What he watches changes constantly, but his watching never changes. He doesn't examine like a doctor, defend like a lawyer, analyze like a scholar, support like a priest, make people laugh like a comedian, or intoxicate like a singer. He only watches. This is enough. No, this is all I can do. All a photographer can do is watch. Therefore, a photographer has to watch all the time. He must face the object and make his entire body an eye. A photographer is someone who wagers everything on seeing.
One view of photography is that it is a zen-like act which captures reality with its pants down - so that the vital click shows the anatomy bare. In this, the photographer is invisible but essential. A computer releasing the shutter would always miss the special moment that the human sensibility can register. For this work, the photographer's instinct is his aid, his personality a hindrance.
The creative life of the commercial photographer is like the life of a butterfly. Very seldom do we see a photographer who is really productive for more than eight or ten years.
Artistic qualities that once seemed undeniable don't seem so now. Sometimes these fluctuations are only fickleness of taste, momentary glitches in an artist's work, or an artist getting ahead of his audience (it took me ten years to catch up to Albert Oehlen). Other times, however, these problems mean there's something wrong with the art.
I think that the photographer must completely control his picture and bring to it all his personality, and in this area most photographs never transcend being just snapshots. When a great photographer does infuse the snapshot with his personality and vision, it can be transformed into something truly moving and beautiful.
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