A Quote by Lois Greenfield

My interest in photography is not to capture an image I see or even have in my mind, but to explore the potential of moments I can only begin to imagine. — © Lois Greenfield
My interest in photography is not to capture an image I see or even have in my mind, but to explore the potential of moments I can only begin to imagine.
To speak technically photography is the art of writing with light. But if I want to think about it more philosophically, I can say that photography is the art of writing with time. When you capture an image you capture not only a piece of space, you also capture a piece of time. So you have this piece of specific time in your square or rectangle. In that sense I find that photography has more to do with time than with light.
I didn't do well in high school, but I took photography, and I loved being able to capture moments. It led to more and more photography, and fashion was the angle into photography for me. It was incredible to see photographs by Irving Penn or Helmut Newton. I was really intrigued by that, and that's what led me to New York City.
I often see the materials of photography as being a type of terrain. Emulsions, liquid developers, silver salts, and fixers interact, and I construct a landscape that I need to first explore in my mind's eye if I am to make it manifest as an artful image in silver.
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.
I didn't do well in high school, but I took photography, and I loved being able to capture moments.
In every enterprise ... the mind is always reasoning, and, even when we seem to act without a motive, an instinctive logic still directs the mind. Only we are not aware of it, because we begin by reasoning before we know or say that we are reasoning, just as we begin by speaking before we observe that we are speaking, and just as we begin by seeing and hearing before we know what we see or what we hear.
I've been doing photography in one form or another for, oh golly, over seventy years. I don't carry cameras. I used to. For many years I carried cameras wherever I went. Photograph whatever I saw that was of interest. In the last years, I've only used cameras to explore thematic ideas which presented themselves first. And then bring out the cameras to try to explore that idea.
Photography's potential as a great image-maker and communicator is really no different from the same potential in the best poetry where familiar, everyday words, placed within a special context, can soar above the intellect and touch subtle reality in a unique way.
In fact, the new malleability of the image may eventually lead to a profound undermining of photography's status as an inherently truthful pictorial form... If even a minimal confidence in photography does not survive, it is questionable whether many pictures will have meaning anymore, not only as symbols but as evidence.
It is important to understand what are you trying to capture with a camera. What you want to use this tool for. It helps to begin to search for and concentrate on thematic photography.
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.
I fell in love with film and its potential. The idea of putting one image next to another image and creating meaning blew my mind.
I loved photography but was frustrated by the limitations of cameras. When trying to take a picture of a friend's young, active daughter using my DSLR, it was impossible to capture the fleeting moments.
My interest in photography did not begin with books or mentors, or with any burning desire to see the world through a camera. It evolved from an intense devotion to mountains and wilderness that eventually shaped all the parts of my life and brought them together.
Probably the most potent desire for a painter, an image-maker, is to see it. To see what the mind can think and imagine, to realize it for oneself, through oneself, as concretely as possible.
Purpose is when you know and understand what you were born to accomplish. Vision is when you see it in your mind and begin to imagine it
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