A Quote by Lewis Baltz

It might be more useful, if not necessarily more true, to think of photography as a narrow, deep area between the novel and film. — © Lewis Baltz
It might be more useful, if not necessarily more true, to think of photography as a narrow, deep area between the novel and film.
The photobook occupies that deep area between the novel and the film.
I thought using three cameras was a lot better than one, because you could see where you were going, where you'd been, and all kinds of things - more like life. I think photography has colored our vision. We're now in an area where it might break something. I think this is a time. I feel it. I don't know whether I'll be here long enough to experience it. I've no plans to leave yet.
We never try to think in terms of any competitive product or company. If you do that, you just focus on a certain narrow area. Rather, we should think much more broadly.
I like to think of Photography 1.0 as the invention of photography. Photography 2.0 is digital technology and the move from film and paper to everything on a chip. Photography 3.0 is the use of the camera, space, and color and to capture an object in the third dimension.
How much energy is wasted in Italy in trying to write the novel that obeys all the rules. The energy might have been useful to provide us with more modest, more genuine things, that had less pretensions: short stories, memoirs, notes, testimonials, or at any rate, books that are open, without a preconceived plan.
There are more women editors than people realise. I think we're more able to keep our eye on what the film needs. Between men, sometimes it's a real ego battle, and that's very bad for the film.
Photography has become so fundamental to the way we see that 'photography' and 'seeing' are becoming more and more synonymous. The ubiquity of photography is, perhaps ironically, a challenge to curators, practitioners, and critics.
Photography is a medium, a language, through which I might come to experience directly, live more closely with, the interaction between myself and nature.
I truly believe that if I would make a bad film, I might be walking into director's jail and never out. And that I think is probably a little more true because I'm a woman.
Photography and writing are marvelous distractions from painting. I might even have found movies more interesting than photography. I tried it a bit, but not enough.
I have always felt that a lot of the most interesting work, not just mine but other people's, falls into [the] nether area, somewhere between the worlds of documentary and photojournalism (two very vague words) and the world of art. I think a lot of street photography falls into this nether area.
[Photography] has become more and more subtle, more and more modern, and the result is that it is now incapable of photographing a tenement or a rubbish heap without transfiguring it. Not to mention a river dam or electric cable factory: in front of these, photography can now only say, How beautiful!
I believe that street photography is central to the issue of photography—that it is purely photographic, whereas the other genres, such as landscape and portrait photography, are a little more applied, more mixed in the with the history of painting and other art forms.
A novel is challenging, because you have more story than you need and you have to select and narrow.
I've discovered as an author that the process of writing a novel becomes harder over time, not easier. I used to think the reverse must be true, that it would be like any task, and the more I practiced, the more adept I'd become.
I think that as television is evolving, the line between TV and film is becoming more and more blurred. This is both a good and bad thing.
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