A Quote by Ludwig Wittgenstein

We regard the photograph, the picture on our wall, as the object itself (the man, landscape, and so on) depicted there. This need not have been so. We could easily imagine people who did not have this relation to such pictures. Who, for example, would be repelled by photographs, because a face without color and even perhaps a face in reduced proportions struck them as inhuman.
Since I switched to an iPhone, I did start taking pictures of people I like. Until then, I strangely never took pictures. I think the iPhone became this space that was different enough from a "photograph," so I find myself taking pictures of daily things. If someone I dated asked me to take their picture, I would most likely find it disturbing. Perhaps nude pictures would be fun. But that would have to be on an iPhone.
There are two kinds of photographs: mine and other people's. I never think of what I might do myself when I look at someone else's pictures... there is no subject in the world I have ever wanted to photograph. It's the picture, not the object, that is important to me.
One night I had an idea while I was at the movies: to photograph the film itself. I tried to imagine photographing an entire feature film with my camera. I could already picture the projection screen making itself visible as a white rectangle. In my imagination, this would appear as a glowing, white rectangle; it would come forward from the projection surface and illuminate the entire theater. This idea struck me as being very interesting, mysterious, and even religious.
The human face is the most deeply ingrained image in our brains. It is the two dots and a dash we connect with as babies. It is the focus of our attention in our relationships with each other. The face and the human figure express all we are. Everything else - architecture, art, even landscape - we usually understand in relation to us.
I am not much interested in discovering new territories to photograph. Instead, what I wish my pictures could do is lessen the distance one often feels when looking at landscape photographs... The longer I work, the more important it is to me to make photographs that tell my story as a participant, and not just an observer of the land.
For in the end, the irreality function functions as well in the face of man as in the face of the cosmos. What would we know of others if we did not imagine things?
And even if these scenes from our youth were given back to us we would hardly know what to do. The tender, secret influence that passed from them into us could not rise again. We might be amongst them and move in them; we might remember and love them and be stirred by the sight of them. But it would be like gazing at the photograph of a dead comrade; those are his features, it is his face, and the days we spent together take on a mournful life in the memory; but the man himself it is not.
The mission of the media is to reflect the community to itself, to give the people a vision of who they are, what they're doing, what they want, what they need. I think motion pictures have been an incredible gift to humanity. I can't imagine living in a world without them.
Did you think you could have the good without the evil? Did you think you could have the joy without the sorrow? . . . . I have been thinking much about pain. How could I help it? . . . . Sooner or later, regardless of the wit of man, we have pain to face; a reality; a final inescapable, immutable fact of life. What poor souls, if we have then no philosophy to face it with! This pain will not last; it never has lasted. I'll think about what I am going to write tomorrow-not about me, not about my body.
Saudi Arabia is so conservative. At first there were photographs of women I took that I couldn't publish - of women without their abayas. So I started writing out little anecdotes about things I couldn't photograph and wove it in with a more obscure picture and called it "moments that got away". I realised these worked as well as the photographs by themselves. There are a lot of photographers who feel the story is all in the photographs but I really believe in weaving in complementary words with the pictures.
I never take a picture of a face because a face is somebody, an arm is not recognizable as somebody. When you take a photograph of someone's face, it identifies it as somebody, but if you take just a fragment, it's everybody. It's not one person.
My bed was pushed up hard against the wall just below the window. I loved to sleep with the windows open. Rainy nights were the best of all: I would open my windows and put my head on my pillow and close my eyes and feel the wind on my face and listen to the trees sway and creak. There would be raindrops blown onto my face, too, if I was lucky, and I would imagine that I was in my boat on the ocean and that it was swaying with the swell of the sea. I did not imagine that I was a pirate, or that I was going anywhere. I was just on my boat.
I always felt that when I was photographing, I had a psychic need to see this, to photograph this. And I think if somebody else had been doing this work, and if I could have seen these pictures anywhere at all, then there would have been no need to make them.
I could picture life—school and everything else—continuing on without me. But I could not picture my funeral. Not at all. Mostly because I couldn’t imagine who would attend or what they would say.
I have never in my life encountered a religion as oppressive, cold, and stiff as Progressivism. I've never known a faith more eager to burn heretics at the stake. Even a fundamentalist Iranian Muslim would flinch if he came face to face with a western liberal's rigid dogmatism. I imagine that even a Saudi Arabian Islamic cleric would take one look at how American left wingers react when anyone deviates ever so slightly from their established orthodoxy, and say to himself, 'man, these people REALLY need to chill.
I hear poets complaining: 'We face what our forebears did not face. We face TV. We face radio. We face this and that.'
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