A Quote by Lynsey Addario

With photography, I always think that it's not good enough. — © Lynsey Addario
With photography, I always think that it's not good enough.
Photography should be redefined. It's largely technical... Photography is just unbelievably limiting. I always think of David Bailey and all the fashion photographers - they overlap, you can't always tell who did it. I don't really even like photography all that much. I just think it's so overdone.
Computer photography won't be photography as we know it. I think photography will always be chemical.
I enjoy photography. It's a lot of fun. It keeps me on my P's and Q's and, when you think about it, most people think photography is just going to a game. But you start to think, dang, that would be a good picture. Or you're driving along and see something and think, 'that would be nice.'
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.
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.
What to me is anathema - a corpse-like, outmoded hangover - is for photography to be a bad excuse for another medium. ... Is not photography good enough in itself, that it must be made to look like something else, supposedly superior?
It's good to be around people who see [photography] as a reasonable enterprise when everyone in the neighborhood may think it's ridiculous. (On the benefit of teaching photography)
What's happened is that the digital age has made photography more accessible to people. Everyone is a photographer. But to do it [photography] at a certain level, well, there's a skill to it. Still, it's a good time for photography now.
Photography really is all about lines, and so is clothing. I worked for Oberto Gili for a couple of years after I was at ICP; we worked in fashion, travel, interior design, everything. I was inspired by his styling choices within fashion photography, and I think those experiences helped steer me towards fashion design. I love photography as a medium, so I think I will always take inspiration from it.
Now that photography is a digital medium, the ghost of painting is coming to haunt it: photography no longer retains a sense of truth. I think that's great, because it frees photography from factuality, the same way photography freed painting from factuality in the mid-nineteenth century.
The history of photography needs clearing out. It needs something else now. Because photography always acknowledged there were cameras before photography.
I've grown up around people who love photography, and I think from being photographed for so long, I always wanted to understand how it worked, and I've been fortunate enough to be photographed by some really wonderful photographers, and so I learnt a lot from them, and I always ask them questions.
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 chose makeup over photography because there was something very sensual about makeup that I loved. But photography was always in the back of my mind. That was always something that I was very connected with: looking at magazines, enjoying photography, and then taking pictures myself when I was a kid.
Most importantly, postmodernism comes down on the side of photography and power, not photography as power. As a consequence, photography continues to be conceived as an inconsequential vehicle or passage for real powers that always originate elsewhere.
I'm still looking to write a great song.... You always are. You know, you never think, 'Well, that's enough ... that's good enough.'
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