A Quote by Joel Meyerowitz

You look at it [a photograph] and all around the real world is humming, buzzing and moving, and yet in this little frame there is stillness that looks like the world. That connection, that collision, that interfacing, is one of the most astonishing things we can experience.
In real life, that's how we're moving around. We look at things while we're walking and moving and turning around. We stare at objects in the world.
Look at the things around you, the immediate world around you. If you are alive, it will mean something to you, and if you care enough about photography, and if you know how to use it, you will want to photograph that meaningness. If you let other people's vision get between the world and your own, you will achieve that extremely common and worthless thing, a pictorial photograph.
If you could see a photograph of what it took to make an advertising photograph - things you don't think about, like the photo assistant carefully arranging the meatballs - the degree of unnaturalness would be astonishing. Yet it produces an image that looks natural, and is orchestrated to provoke basic emotional responses.
I have never been interested in making a photograph that describes what the world I live in looks like, but I am interested in what pictures (of the world) look like.
I decided a long time ago that if I was going to do anything internationally, it would be mainstream pop entertainment - and that's exactly what 'Quantico' is. The diversity is just reflective of the world today - look around you: this is what America looks like. This is what the world looks like. It's time Hollywood embraced that.
To walk into a modern-day bookstore is a little bit like studying a single photograph out of the infinite number of photographs that cold be taken of the world: It offers the reader a frame.
I think most serious photographers understand that there's this large gap between the world and how the world looks through a photograph.
Perhaps things are most beautiful when they are not quite real; when you look upon a scene as an outsider, and come to possess it in its entirety and forever; when you live in the present with the lucidity and feeling of memory; when, for want of connection, the world deepens and becomes art.
I want you, as a reader, to experience what I experience, to let that other world, that imaginary world that I have created, tell you things about the real world.
What we did with Avatar, if you really look at it, we took things that are out there in the world every day, we just made them bigger, shinier. ... But all our inspiration comes from the real world. So if you really look, you can see all those things around you, and I would just encourage people to get out and look for it.
Part of the mystery of any given photograph is the fact that it was taken at a certain time and in a certain place and time keeps moving on. A photograph might be a moment in time preserved, but the world continues to change around it.
What I want is the world to remember the problems and the people I photograph. What I want is to create a discussion about what is happening around the world and to provoke some debate with these pictures. Nothing more than this. I don't want people to look at them and appreciate the light and the palate of tones. I want them to look inside and see what the pictures represent, and the kind of people I photograph.
I like the work hanging free in the frame. I don't like too much frame around it but I like a little breathing space around the piece.
It's about really having a God connection: a connection with the divine behind the world and flowing forth out of that in a positive way with love and moving toward making a contribution that pushes forth the evolution of the world.
It was a narrow world, a world that was standing still. But the narrower it became, the more it betook of stillness, the more this world that enveloped me seemed to overflow with things and people that could only be called strange. They had been there all the while, it seemed, waiting in the shadows for me to stop moving. And every time the wind-up bird came to my yard to wind its spring, the world descendedmore deeply into chaos.
I photograph to see what the world looks like in photographs.
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