A Quote by Patrick Demarchelier

Photography is an accident. — © Patrick Demarchelier
Photography is an accident.
I started photography more or less by accident when I was already 27. I was taken on as an assistant by a photographer who was a friend of a friend and I very quickly understood the potential of expression in photography.
Good films are not made by accident, nor is good photography. You can have good things happen, on occasion, by accident that can be applied at that moment in a film, but your craft isn't structured around such things, except in beer commercials.
I came to photography by accident.
Photography's history is bound to the mistake, to the accident.
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.
All painting is an accident. But it's also not an accident, because one must select what part of the accident one chooses to preserve.
First you study photography, then you practice photography, then you serve photography, and finally one becomes photography.
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.
Computer photography won't be photography as we know it. I think photography will always be chemical.
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.
The creation of a virtual image is a form of accident. This explains why virtual reality is a cosmic accident. It's the accident of the real.
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.
In the '70s, in Britain, if you were going to do serious photography, you were obliged to work in black-and-white. Color was the palette of commercial photography and snapshot photography.
The history of photography needs clearing out. It needs something else now. Because photography always acknowledged there were cameras before photography.
You look at the U.S. budget deficit, and you cannot help but feel that this is a serious accident waiting to happen. And not just a serious U.S. accident, but a serious global accident.
Photography has become so fundamental to the way we see that 'photography' and 'seeing' are becoming more and more synonymous. The ubiquity of photography is, perhaps ironically, a challenge to curators, practitioners, and critics.
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