A Quote by Jerome Liebling

My sympathies have always been with the everyday people... the center of my photography. — © Jerome Liebling
My sympathies have always been with the everyday people... the center of my photography.
My sympathies have always been for working-class people.
Anthropology... has always been highly dependent upon photography... As the use of still photography - and moving pictures - has become increasingly essential as a part of anthropological methods, the need for photographers with a disciplined knowledge of anthropology and for anthropologists with training in photography has increased. We expect that in the near future sophisticated training in photography will be a requirement for all anthropologists. (1962)
Since high school, I've always been super into photography. I event went to Valley College for photography.
Photography has always been a passion of mine, but I began to study light field photography when I was in the Ph.D. program at Stanford University.
Photography has always been associated with death. Reality is colorful, yet early photography always took the color out of reality and made it black-and-white. Color is life; black-and-white is death. There was a ghost hidden in the invention of photography.
In the history of photography, one process has always replaced another. The tumultuous realignment that's going on in the photography now is really just a natural evolution. The irony is that none of the processes that have been replaced have disappeared. More people than ever are practicing every approach to shooting and printing.
The tradition of portrait painting, to embellish or idealize the subject, remains the aim of everyday and of commercial photography, but it has had a much more limited career in photography considered as art. Generally speaking, the honors have gone to the Cordelias.
Photography for me has been tremendously good, because I'm not a very sociable person. I'm happy reading or sitting in the library or going for walks. So photography has brought me in contact with people and made me understand people in a way that I probably wouldn't have done if I hadn't been a photographer. And so I'm grateful for that, really.
Computer photography won't be photography as we know it. I think photography will always be chemical.
My photography is very European. In America, I always get the sense that people are comforted by understanding what they're looking at. Photography's quite clear here [in the U.S.], it's very well-explained. My photography's perhaps not as well-explained.
Documentary photography is becoming more illustrative as people become more familiar with photography’s limitations and vulnerabilities. Reality has always been interpreted through layers of manipulation, abstraction, and intervention. But now, it is very much on the surface. I like this honesty about its dishonesty. Every photograph has many truths and none. Photographs are ambiguous, no matter how seemingly scientific they appear to be. They are always subject to an uncontrollable context. This is a tired statement, but worth repeating.
Photography should be redefined. It's largely technical... Photography is just unbelievably limiting. I always think of David Bailey and all the fashion photographers - they overlap, you can't always tell who did it. I don't really even like photography all that much. I just think it's so overdone.
The history of photography needs clearing out. It needs something else now. Because photography always acknowledged there were cameras before photography.
Everyday's a battle against; everyday's a fight for. Everyday is collaged with shadows cast in everyday's sunrise. Everyday is a new chance.
I chose makeup over photography because there was something very sensual about makeup that I loved. But photography was always in the back of my mind. That was always something that I was very connected with: looking at magazines, enjoying photography, and then taking pictures myself when I was a kid.
Most importantly, postmodernism comes down on the side of photography and power, not photography as power. As a consequence, photography continues to be conceived as an inconsequential vehicle or passage for real powers that always originate elsewhere.
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