A Quote by Jessica Lange

If you're really in the process of photographing, you are absolutely aware. You are looking. — © Jessica Lange
If you're really in the process of photographing, you are absolutely aware. You are looking.
Ultimately, the reward is the process - the process of photographing and discovering and trying to understand why and what am I photographing.
I'm interested in machines that make you aware of the process of seeing and aware of what you do when you construct the world by looking. This is interesting in itself, but more as a broad-based metaphor for how we understand the world.
People aren’t photographing for history any more. It’s for immediate gratification. If you’re photographing to share an image, you’re not photographing to keep it.
I keep trying to find ways to shift the viewer's attention away from the object they are looking at and toward their own perceptual process in relation to that object. The question for me always is: how can I make you aware of your own activity of looking, instead of losing your attention to thoughts about what it is that you are looking at?
Snapshots that have been taken of me working show something I was not aware of at all, that over and over again I'm holding my own body or my own hands exactly like the person I'm photographing. I never knew I did that, and obviously what I'm doing is trying to feel, actually physically feel, the way he or she feels at the moment I'm photographing them in order to deepen the sense of connection.
The best advice I've got was - "All you have is the process. All you have is the journey of making something. Once you're done you have absolutely no control on how it's received, or if people like it or hate it, or what is done with it. As long as you enjoy the process, then you'll always be happy." I really feel like that's important advice. Sometimes we get so focused on the results that we miss doing it - we miss the adventure of being in the midst of something because we're looking too far ahead.
In Europe, I am an outsider. I don't really understand anything that I am seeing. I can be welcomed into people's homes, I can be met with suspicion, I can be taken somewhere else altogether. There is always wonderment there for me, even if the person I am photographing may not see it or be aware of it.
My strength is looking for composition and light, and I think those things come in the quieter times of war or photographing people affected on the margins of war - civilians, refugees; that is where I really excel.
I never stopped photographing. There were a couple of years when I didn't have a darkroom, but that didn't stop me from photographing.
When I was launched in 2010, people told me that I wasn't the best looking guy, so I would have to act really well. I am aware that I am not conventionally good looking. I have heard it so many times that I have started believing it.
I've always been really, really aware of my insecurities - really, really aware. I never developed that thick skin that keeps you from letting things get to you.
The most exciting part of the casting process was casting out of Israel, which was a really unique process, mainly done remotely from California, looking at casting tapes.
You have to be quite aware that if you are really looking for something funny it is probably not going to happen.
Photographing plants makes you look carefully and become aware of the many solutions plants provide to human problems
It was only after a while, after photographing mines and clear-cutting of forests in Maine, that I realized I was looking at the components of photography itself. Photography uses paper made from trees, water, metals, and chemistry. In a way, I was looking at all these things that feed into photography.
I'm aware, as a sane person, that I'm not the best-looking guy in the world. I'm aware of it. But when I go into a party, I will walk out with your girlfriend.
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