A Quote by John Szarkowski
Pure photography is a system of picture-making that describes more or less faithfully what might be seen through a rectangular frame from a particular vantage point at a given moment.
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Photography is inherently an analytic discipline. Where a painter starts with a blank canvas and builds a picture, a photographer starts with the messiness of the world and selects a picture. A photographer standing before houses and streets and people and trees and artifacts of a culture imposes an order on the scene - simplifies the jumble by giving it structure. He or she imposes this order by choosing a vantage point, choosing a frame, choosing a moment of exposure, and by selecting a plane of focus.
Bored with obvious reality, I find my fascination in transforming it into a subjective point of view. Without touching my subject I want to come to the moment when, through pure concentration of seeing, the composed picture becomes more made than taken. Without a descriptive caption to justify its existence, it will speak for itself - less descriptive, more creative; less informative, more suggestive - less prose, more poetry.
Without touching my subject I want to come to the moment when, through pure concentration of seeing, the composed picture becomes more made than taken. Without a descriptive caption to justify its existence, it will speak for itself - less descriptive, more creative; less informative, more suggestive - less prose, more poetry.
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.
Photography is a system of visual editing. At bottom, it is a matter of surrounding with a frame a portion of one's cone of vision, while standing in the right place at the right time. Like chess, or writing, it is a matter of choosing from among given possibilities, but in the case of photography the number of possibilities is not finite but infinite.
As anyone who has recently seen PG-13 movies knows, the level of violence in them has increased to the point of making the Motion Picture Association of America's voluntary rating system meaningless.
Frame in terms of what you want to have in the picture, not about making a nice picture, that anybody can do.
Let me put it in a rather larger picture framework. Let's go to the longest time frame, the time frame of the life of our sun. As a star, our sun is about halfway through its life cycle. In the long run, we only have a couple of billion more years likely that we can inhabit this planet. By that time, we're going to have to be out of here before our sun dies. Now, I don't think we need to wait that long, and we certainly shouldn't wait that long. At the moment, we are not on a sustainable path.
On Russia, I can only repeat what the president [Barack Obama] said. This is all about respecting certain principles, and I'm saying this from a European vantage point, from a European, from a German vantage point, sorry, the fact that for over 70 years we have been able to enjoy peace.
On stage, everyone stays put; the vantage point is always the vantage point, and you have to play to the size of the house. And of course, on film, there's different angles, different shots, so that determines how animated or how still you must be.
I found that looking at the Israeli/Palestinian conflict from an outside vantage point was actually quite distancing. The history of the conflict, the personalities, the violence, the distrust, and the seeming lack of viable solutions made meaningful involvement feel impossible. What changed that, for me, was changing the vantage point.
I think that's the strength of photography - to decide the decisive moment, to click in the moment to come up with a picture that never comes back again.
Photography's vaunted capture of a moment in time is the seizure and freezing of presence. It is the image of simultaneity, of the way that everything within a given space at a given moment is present to everything else; it is a declaration of the seamless integrity of the real.
Cartier-Bresson has said that photography seizes a 'decisive moment', that's true except that it shouldn't be taken too narrowly...does my picture of a cobweb in the rain represent a decisive moment? The exposure time was probably three or four minutes. That's a pretty long moment. I would say the decisive moment in that case was the moment in which I saw this thing and decided I wanted to photograph it.
I have seen landscapes . . . which, under a particular light, make me feel that at any moment a giant might raise his head over the next ridge.
Photography has definitely been my favorite way to remember things. At least for me that’s how my brain processes things, of memories or moments - if I take a picture of it I can remember so many more details. I think it’s about choosing the exact picture in my head that signifies or symbolizes a moment - almost as if you’re using film. It’s almost archaic.
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