A Quote by Margaret Mead

Photographs [are] of course heavily dependent upon the culture, the disciplinary point of view and the idiosyncratic vision of the particular photographer-analyst. — © Margaret Mead
Photographs [are] of course heavily dependent upon the culture, the disciplinary point of view and the idiosyncratic vision of the particular photographer-analyst.
[With my photographs] you have a [single, forever fixed] moment and my particular angle of vision. My tyrannical condition, as it were, is that I prescribe your vision.
But every point of view is a point of blindness: it incapacitates us for every other point of view. From a certain point of view, the room in which I write has no door. I turn around. Now I see the door, but the room has no window. I look up. From this point of view, the room has no floor. I look down; it has no ceiling. By avoiding particular points of view we are able to have an intuition of the whole. The ideal for a Christian is to become holy, a word which derives from “whole.
I think that the photographer must completely control his picture and bring to it all his personality, and in this area most photographs never transcend being just snapshots. When a great photographer does infuse the snapshot with his personality and vision, it can be transformed into something truly moving and beautiful.
Photographs bear witness to a human choice being exercised in a given situation. A photograph is a result of the photographer's decision that it is worth recording that this particular event or this particular object has been seen. If everything that existed were continually being photographed, every photograph would become meaningless.
Literature is my life of course, but from an ontological point of view. From an existential point of view, I like being a teacher.
The answer is that the success of any kind of social epidemic is heavily dependent on the involvement of people with a particular and rare set of social gifts.
Having exhausted every possibility at the moment when he was coming full circle, Antonino realised that photographing photographs was the only course that he had left - or, rather, the true course he had obscurely been seeking all this time. (Last line of the story The Adventure of a Photographer )
I know from an editor's point of view or a publisher's point of view it's easier to slot me into a particular niche. But I know that I'd be bored unless I wrote a book that in some senses was a challenge.
If you tailor your news viewing so that you only get one point of view, well of course you're going to think somebody else has got a different point of view, and it may be wrong.
I'm just like a photographer or a director. Of course I have an opinion, but I don't think my opinion, or what I want to say... is so obvious 'cause that's not my job. My job is just to give a point of view, not more than that.
Our principal constraints are cultural. During the last two centuries we have known nothing but exponential growth and in parallel we have evolved what amounts to an exponential-growth culture, a culture so heavily dependent upon the continuance of exponential growth for its stability that it is incapable of reckoning with problems of non-growth.
People are deciding - if they don't like a particular point of view or a particular paper, it goes out of business.
The work is primarily subject-driven. All decisions flow from there. The photographs are all made in response to a unique subject, in particular context, at a specific moment in time. The thoughtful preparedness that defines my working method actually facilitates spontaneity and allows me to embrace surprise. I always have a game plan but view it as merely the jumping off point.
I love to write about sex. You just have to make it idiosyncratic. You have to have a strong comprehension of your characters, and write it from their point of view. It's really fun. It's not erotic.
Culture is more important than vision. Some leaders have great vision, but have created a toxic culture where that vision will never happen.
When I first started to take photographs in Czechoslovakia, I met this old gentleman, this old photographer, who told me a few practical things. One of the things he said was, "Josef, a photographer works on the subject, but the subject works on the photographer."
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