A Quote by Max Vadukul
I have been heavily criticized in the past at magazines for my black-and-white photography and the aggressive punch - I prefer to call it strong emotion - to the pictures. When everything is virtually disposable I feel these pictures really stand out.
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We think of photography as pictures. And it is. But I think of photography as ideas. And do the pictures sustain your ideas or are they just good pictures? I want to have an experience in the world that is a deepening experience, that makes me feel alive and awake and conscious.
When you walk in the front of the White House, the pictures on the walls, they change out pretty frequently. They're all very cool and historical, with pictures from the current term and past terms.
I prefer black and white and portrait photography. I like old, you know, interesting faces, so I think black and white brings out the contrast.
My first wedding was 15 people at our condo. The second was maybe about a hundred people at this fabulous casino. And you know what? I have almost no pictures of the second one, because I put disposable cameras on the tables, because everyone said, "The best pictures are the most candid! The best pictures are the ones people just take!" So, I put disposable cameras on the tables, and guess what? There were so many kids there that those cameras were stomped on. I had so many pictures of the floor, of people's eyes, of someone's finger.
Finnish forests: Let us remind the satellite pictures of the 1970's winter in which the old forest appeared black and young forest and cut downs white. Already then the Finnish borders were like drawn on the map: White Finland between black Karelian and black Sweden. Finnish Forest Research Institute hicced up some time and then decided that the pictures are fake.
I love this life. I feel like I am always catching my breath and saying, 'Oh! Will you look at that?' Photography has been my way of bearing witness to the joy I find in seeing the extraordinary in ordinary life. You don't look for pictures. Your pictures are looking for you.
We try never to have pictures of our children in the magazines, because there are strange people out there. But the paparazzi try to steal pictures.
To an ever greater extent out experience is governed by pictures, pictures in newspapers and magazines, on television and in the cinema. Next to these pictures firsthand experience begins to retreat, to seem more and more trivial. While it once seemed that pictures had the function of interpreting reality, it now seems they have usurped it. It therefore becomes imperative to understand the picture itself, not in order to uncover a lost reality, but to determine how a picture becomes a signifying structure of its own accord.
Photography has always been associated with death. Reality is colorful, yet early photography always took the color out of reality and made it black-and-white. Color is life; black-and-white is death. There was a ghost hidden in the invention of photography.
All the good pictures that came so easily now make the next set of pictures virtually impossible in your mind.
I confess I prefer to engage with pictures which I've chosen myself out of the welter of unidentified pictures, without the intrusion of too much personal context - Ilike to be a detective, and dislike being an impresario.
I remember that even my first impression of Italian cinema was pictures by paparazzi because my mom was reading all of these trash magazines with paparazzo pictures.
It would be so easy to lose the plot now. It's not about achieving something for its own sake, and taking pictures for their own sake. But to make conscious decisions and choices, and it includes this constant questioning - Why am I taking pictures? Because really, the world is... it has pictures enough. I mean, there are enough pictures out there.
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.
The original interest in making pictures that don't directly depict came around '97 or '98, when I felt there was such an acceleration of images in the world, and that was before Flickr and so on. So I felt a need to slow down how one consumes photographs. With the abstract pictures, I was engaged in trying to find new images, but in practice, it was a bit like throwing a wrench in the spokes. The omnipresence of photography is at a level that it has never been in the history of the world. I feel really curious to now reengage and see what the camera can do for me.
Even as a little kid, I was fascinated by newspapers and magazines. They were my TV. I'd be the first one up to grab the morning paper, mainly to look at the sports pictures, the war pictures.
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