A Quote by John Sexton
Obviously, we can see what was in front of the camera, but if a photograph is honestly made, it's a bit of a self-portrait. I think it's impossible for a photographer who is working honestly to keep this from happening.
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A photograph records both the thing in front of the camera and the conditions of its making... A photograph is also a document of the state of mind of the photographer. And if you were to extend the idea of the set-up photograph beyond just physically setting up the picture, I would argue that the photographer wills the picture into being.
This is how you can tell a real photographer: mostly, a real photographer does not say 'I wish I had my camera on me right now'. Instead a real photographer pulls out her camera and takes the photograph.
I think it's probably safe to say that continuing our onscreen relationship in front of the camera is probably not happening. I expect Adam may well pursue things in front of the camera, but I'm most likely not. It's not who I am.
No one can ask honestly or hopefully to be delivered from temptation unless he has himself honestly and firmly determined to do the best he can to keep out of it.
I started working in front of the camera for the first time when I was 15 years old. I joined a soap opera. We filmed in Brooklyn and I would skip class to shoot my scenes. It was terrifying and I entirely self-conscious in front of the camera.
I don't like to put too much effort into things. I find that once you get involved with special effects it is no longer about what is happening in front of the camera and I really want to concentrate on what is happening in front of the camera, like the man apparently peeing on the surface of the screen.
Obviously you have to take it the right way, keep your head down, be humble. But I think if you're in an environment where you're challenging yourself, you're only going to improve. So that's honestly what I tried to do when I went to Europe.
The best career advice I've ever received I would say is honestly just to keep going, follow your passion. It does sound cliche, but honestly it's true.
If you are walking down the street, camera in your hand, loaded and ready to shoot. You see a person falling from a high building, either having fallen or jumped. That person is falling through space. You don't shoot that photograph unless the theme you are working on has to do with the effects of space on the human figure. If you simply photograph that event because it is an event that is happening, you're doing photojournalism.
If the photographer is interested in the people in front of his lens, and if he is compassionate, it's already a lot. The instrument is not the camera but the photographer.
I think self-portraits are very difficult. I’ve always seen mine as straightforward, very stripped down, hair pulled back. No shirt. Whatever light happened to be available. I’d want it to be very graphic – about darkness and light. No one else should be there, but I’m scared to do it by myself. I’ve been thinking about it for a long time. The whole idea of a self-portrait is strange. I’m so strongly linked to how I see through the camera that to get to the other side of it would be difficult. It would be as if I were taking a photograph in the dark.
Honestly, I think, as an artist, it's everything that's in your life that informs what you do. So, obviously, growing up in Cleveland has played a big role in how I see the world.
I can honestly say - not proudly, but honestly - before I had a child, I would see things on TV or hear the news, feel sad for the people and move forward with my day. Now I see everything through a mother's eyes.
Honestly, I just keep my nose to the grindstone and keep working. At the end of the day, that's usually one of those things that's going to get you ahead.
When the photographer is nearby, I like to say, 'Quick, get a photo of me looking into the camera,' because I'm never looking into the camera. Christopher Nolan looks into the camera, but I think most directors don't, so whenever you see a picture of a director looking at the camera, it's fake.
I think that deprecation part is a very important aspect because when someone looks into themselves, if they're going to be honest, they're going to see parts that are humiliating as well as parts that they might feel really great about. Take Lucas Samaras again, who made a lot of self-portraits. He makes one self-portrait where he is looking directly into the camera and looks so intense and cool. He says in an interview, "I wanted to present the best version of myself."
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