A Quote by Olivier Zahm
Sven Schumann did an interview with photographer Wolfgang Tillmans in Berlin addressing the question: What is photography today when everyone is a photographer? These kinds of questions and answers you find in a magazine, on paper and not on Instagram. For me this is the essence of a magazine - it's questioning what's going on today and celebrating true creativity without compromise.
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Billions of photos are shot every year, and about the toughest thing a photographer can do is invent an original, deeply personal, instantly recognizable visual style. In the early nineties, Wolfgang Tillmans did just that, transforming himself into a new kind of artist-photographer of modern life.
The two ideas are antithetical. Insofar as photography is (or should be) about the world, the photographer counts for little, but insofar as it is the instrument of intrepid, questioning subjectivity, the photographer is all.
[Photography] can be tiny, on your phone, or it can be a billboard, or a film-sized projection, or printed in a magazine. I don't think we've been in a time before when so much photography is available in so many formats, when everybody is a photographer.
Insatiable curiosity is infectious to everyone around you. We live in an era today where we can get the answers for everything. In my generation, going to school meant learning the answers. Today, education should be more about knowing what the right questions are. The answers come for free.
In fact, I probably learned more about photography from studying black-and-white photography in those magazines [Look Magazine and LIFE Magazine] than I did from watching movies here. That's the truth.
A photographer without a magazine behind him is like a farmer without fields.
It used to bug me that I couldn't even afford to take my family for a proper holiday. I didn't have any professional knowledge, and getting a photographer's job in a magazine was out of the question. So, armed with a Pentax K1000, I started going to various maidans of Mumbai, looking for subjects.
There were just moments of the punk scene and I realized that I had to capture it. There was also this photographer in our preschool - I went to a Montessori school in Baltimore, Maryland - and they had this photographer come and take all these incredible photographs. They looked like they were from Life magazine.
A photographer is a witness. He has a moral duty. Every picture must be true and honest. I believe a photographer's strength is his ability to accurately record reality. There are photographers who think they are lucky if they find unusual or special subject. But it is never the subject that is so marvelous. It is how alive and real the photographer can make it.
Well, I'm not going to get into that. I think that those kind of distinctions and lists of titles like "street photographer" are so stupid. I'm a photographer, a still photographer. That's it.
I had done an interview with 'Hello' magazine. In it, they asked me if I was going to marry Emily Blunt. Of course, what was I going to say? I said, 'Oh yeah I am going to marry her and I love her and all of this stuff.' It's true. I was making a joke. They said to me, 'Have you asked her?' I said, 'Have I? Maybe I am asking her through the magazine.'
French 'Vogue' was always a photographer's magazine.
My mother had taken me to photographer Paul Hesse, who used some of my pictures on magazine covers.
To us, the difference between the #? photographer as an individual eye and the photographer as an objective recorder seems fundamental, the difference often regarded, mistakenly, as separating photography as art from #? photography as document. But both are logical extensions of what photography means: note-taking on, potentially, everything in the world, from every possible angle.
I'm a photographer, period. I love photography, the immediacy of it. I like the craft, the idea of saying 'I'm a photographer.'
Sadly, I've learnt that prejudice still exists in parts of the entertainment industry - I did an interview with a magazine once, and the journalist quite openly said they wouldn't put a black person on the front cover because the magazine wouldn't sell.
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