A Quote by Karl Lagerfeld
What i like about photographs is that they capture a moment that’s gone forever, impossible to reproduce.
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It is just an illusion here on Earth that one moment follows another one, like beads on a string, and that once a moment is gone, it is gone forever.
There is always something sad about the old photographs, it is because we know that people in the photos have gone forever.
I honestly think the impulse is to grab something and capture it, and not capture a moment that you want to remember, but just capture an image that you want other people to see right away. It's about how someone is going to "like" this and it's no longer an experience. It's just this constant sharing of images. I personally don't like that very much.
One moment my dad and I were swapping stories about the basketball games; a few hours later he was gone. Forever. Just like that, with no goodbyes.
One moment it was there, another moment it is gone. One moment we are here, and another moment we have gone. And for this simple moment, how much fuss we make! How much violence, ambition, struggle, conflict, anger, hatred, just for this small moment! Just waiting for the train in a waiting room on a station, and creating so much fuss: fighting, hurting each other, trying to possess, trying to boss, trying to dominate - all that politics. And then the train comes and you are gone forever.
It wasn't until I realised that I could actually take nice photographs that I started to become passionate about it. I then got a few jobs working for magazines in London, and I would get terribly excited and intense about doing a job and taking photographs and looking through the lens to capture something amazing.
I think all photographs lie. They capture such a small amount of a person's personality, if they capture anything.
I love photographs. I love taking photographs. When I see something that's great, I want to capture that. You put it out there and on a place like Instagram you can put it there and review it later.
Life is so fluid that one can only hope to capture the living moment, to capture it alive and fresh ... without destroying that moment.
There is no truth in photography. One can't reproduce an absolute truth. That said, I don't see [my photographs] as being any less truthful than any other photographs.
I believe that photography can only reproduce the surface of things. The same applies to a portrait. I take photographs of people the same way I would take photographs of a plaster bust.
Life exists only at this very moment, and in this moment it is infinite and eternal, for the present moment is infinitely small; before we can measure it, it has gone, and yet it exists forever.
I'm trying to capture a moment. It's not about the singer at the microphone. I'm trying to look for, like, a moment in between.
Walter Benjamin talks about art losing its original "aura" in an age of mechanical reproduction. In writing memoir, we're taking something that happened in a particular moment and meant something at that time, and we're trying to capture it to mass reproduce it for readers. So of course something is lost. And when we edit that material, we're getting even further from that aura, but toward something else that is potentially vital.
In a dog's world, only three states existed: "now," "in a while," and "forever." If someone left, he was gone "forever," and when he returned they rejoiced as much as if he were back from the dead precisely because he'd been gone "forever.
When I say forever,' Koschei whispered, 'I mean until the black death of the world. An Ivan means just the present moment, the flickering light of it, in a green field, his mouth on yours. He means the stretching of that moment. But forever isn't bright; it isn't like that. Forever is cold and hard and final.
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