A Quote by Lois Greenfield

I realized that one of the differences between news photography and dance photography was that the former has to tell a specific story, whereas all a dance photograph had to be was visually interesting.
I never liked dance photography; it's very flat, and dance photography in the studio looks very contrived.
Dance is a universal language, and whether you know how to dance or grew up training in dance, you have a respect for people who love to dance, and it's also visually very entertaining to watch a great dancer.
If I photograph you I don't have you, I have a photograph of you. It's got its own thing. That's really what photography, still photography, is about.
Ballet might be too formal of a title for the type of dance I do, but I love to dance. I love to draw and paint; I do ceramics and photography. I'm interested in a lot of creative stuff.
The role of photography in crisis and recovery is fascinating, a dance between providing access and destroying the magic and mystique of the monarchy.
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.
Photography allows you to be a part of the action and document stories. It is a perfect extension of my body. I can take it pretty much anywhere and tell a story with a photograph.
I am a former economist. I never went to photography school to learn photography.
To know whether photography is or is not an art matters little. What is important is to distinguish between good and bad photography. By good is meant that photography which accepts all the limitations inherent in photographic technique and takes advantage of the possibilities and characteristics the medium offers. By bad photography is mean that which is done, one may say, with a kind of inferiority complex, with no appreciation of what photography itself offers: but on the contrary, recurring to all sorts of imitations.
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.
The Winter Photograph was my Ariadne, not because it would help me discover a secret thing (monster or treasure), but because it would tell me what constituted that thread which drew me toward Photography. I had understood that henceforth I must interrogate the evidence of Photography, not from the viewpoint of pleasure, but in relation to what we romantically call love and death.
There is a lot of social photography being done now to point to the untruth of photography. It's getting very dull now. So, okay photography doesn't tell the truth. So what? Everyone has known this forever.
One of the magical things about photography is the transformation that takes place when you photograph something. Something that inherently has very little going for it in terms of the interest you take in it, can become infinitely more interesting when rendered as a photograph. It's no longer a building. It's a photograph.
Real photography is a wonderfully inclusive, democratic medium, whereas art photography is more often a private pursuit by conmen.
We dance for laughter, we dance for tears, we dance for madness, we dance for fears, we dance for hopes, we dance for screams, we are the dancers, we create the dreams.
It was only after a while, after photographing mines and clear-cutting of forests in Maine, that I realized I was looking at the components of photography itself. Photography uses paper made from trees, water, metals, and chemistry. In a way, I was looking at all these things that feed into photography.
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