A Quote by Jerry Saltz
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.
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Sven Schumann did an interview with photographer Wolfgang Tillmans in Berlin addressing the question: What is photography today when everyone is a photographer? These kinds of questions and answers you find in a magazine, on paper and not on Instagram. For me this is the essence of a magazine - it's questioning what's going on today and celebrating true creativity without compromise.
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.
Well, I'm not going to get into that. I think that those kind of distinctions and lists of titles like "street photographer" are so stupid. I'm a photographer, a still photographer. That's it.
It is the photographer's decision at the two levels of seeing the picture - when it is shot and when it is chosen and printed that determines his personal style.
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.
Aside from my modelling, by the early Nineties I was also starting to work as a photographer, which I loved.
One thing that Life and I agreed right from the start was that one war photographer was enough for my family; I was to be a photographer of peace.
I've never not been sure that I was a photographer any more than you would not be sure you were yourself. I was a photographer, or wanting to be a photographer, or beginning - but some phase of photographer I've always been.
I became a photographer in order to be a war photographer, and a photographer involved in what I thought were critical social issues. From the very beginning this was my goal.
You must have a visual sense if you want to be a photographer. It is a very subtle thing, this visual business.
Being a digital photographer I'm in awe of the older generation of photographers who created all those iconic cinematic style images on film, such as Man Ray's portrait of the photographer Lee Miller.
A photographer is a witness. He has a moral duty. Every picture must be true and honest. I believe a photographer's strength is his ability to accurately record reality. There are photographers who think they are lucky if they find unusual or special subject. But it is never the subject that is so marvelous. It is how alive and real the photographer can make it.
Yes, a lot of European cinema and a lot of independent films and art-house stuff. She is a photographer. She is a visual artist and photographer and my dad is, too. My mum, I must credit for showing me good films. With my career, my parents were great and though they were a little wary, maybe, of the acting ambitions they have always been supportive.
Think like a photographer. Look at every vignette in your home like it's being shot for a shelter magazine and style accordingly.
"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."
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