A Quote by Joel Meyerowitz
I think about photographs as being full, or empty. You picture something in a frame and it's got lots of accounting going on in it-stones and buildings and trees and air - but that's not what fills up a frame. You fill up the frame with feelings, energy, discovery, and risk, and leave room enough for someone else to get in there.
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You fill up the frame with feelings, energy, discovery, and risk, and leave room enough for someone else to get in there.
Photography has always been capable of manipulation. Even more subtle and more invidious is the fact that any time you put a frame to the world, it's an interpretation. I could get my camera and point it at two people and not point it at the homeless third person to the right of the frame, or not include the murder that's going on to the left of the frame. You take 35 degrees out of 360 degrees and call it a photo. There's an infinite number of ways you can do this: photographs have always been authored.
Over the years, I think, people - actors, writers, whatever - lose their frame of reference. Their frame of reference is based on somebody else who did this or did that. Performances. So it just becomes a reflection of what already works. Like a warm-up. And that's an invitation to be inauthentic.
If life is envisioned as a continuously running motion picture, the keeping of a notebook stops the action and allows a meaningful scene to be explored frame by frame.
The craft, the writing of a song, is about creating a story, a life story, a world within three minutes, but that's the frame, if you like, the picture frame. That fascinates me.
For a long time I've lived with the inadequacy of that frame to tell everything I knew, and I think a lot about what is outside of the frame.
In 'Padmaavat,' you are pushed to be as good as the frame, to have a presence that lives up to the grand, operatic, intricate, beautiful frame that you inhabit. I love trying to rise to that.
You need a continuous picture of how things are evolving, and not a slow series of snapshots where you don't know how frame A is related to frame B.
Frame is a good enough piece of software that there are actually rewards to taking an intelligent and formal approach to your problem. But if you want to be stupid, you can think of Frame as a version of Microsoft Word with most of the bugs taken out.
There in front of me was the Senator on the floor being held by the busboy. There was nobody else around, and I made my first frame, and I forgot to focus the camera. The second frame was a little more in focus... then just for a second, while everything was open, the busboy looked up, and he had this look in his eye. I made that picture, and then suddenly the whole situation closed in again. And it became bedlam.(On the 1968 shooting of U.S. presidential candidate Bobby Kennedy.)
I could get my camera and point it at two people and not point it at the homeless third person to the right of the frame, or not include the murder that's going on to the left of the frame.
You wait until life is in the frame, then you have the permission to click. I like the adventure of waiting until the whole frame is full.
The key to happiness is not to get more, but to enjoy what we have and to fill the empty frame of our lives instead of enlarging it.
Pictures could not be accessories to the story -- evidence -- they had to contain the story within the frame; the best picture contained a whole war within one frame.
Anyone with an engineering frame of mind will look at [accounting standards] and want to throw up.
You tend to compose things more in the middle of frame in 3-D than you would in a conventional frame. You can really see composition in 2-D but in 3-D your composition is much more complex. Everything has to be artificially enhanced. But you do gain something else with 3-D: you have a sense of space and heightened reality.
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