A Quote by Patti Smith

Robert was concerned with how to make the photograph, and I with how to be the photograph. — © Patti Smith
Robert was concerned with how to make the photograph, and I with how to be the photograph.
How foolish of me to believe that it would be that easy. I had confused the appearance of trees and automobiles, and people with a reality itself, and believed that a photograph of these appearances to be a photograph of it. It is a melancholy truth that I will never be able to photograph it and can only fail. I am a reflection photographing other reflections within a reflection. To photograph reality is to photograph nothing.
I do not photograph for ulterior purposes. I photograph for the thing itself - for the photograph - without consideration of how it may be used.
What if I said that every photograph I made was set up? From the photograph, you can't prove otherwise. You don't know anything from the photograph about how it was made, really.
A photograph never grows old. You and I change, people change all through the months and years but a photograph always remains the same. How nice to look at a photograph of mother or father taken many years ago. You see them as you remember them. But as people live on, they change completely. That is why I think a photograph can be kind.
As far as the surface is concerned - oil on canvas, conventionally applied - my pictures have little to do with the original photograph. They are totally painting (whatever that may mean). On the other hand, they are so like the photograph that the thing that distinguished the photograph from all other pictures remains intact.
We know by now how to photograph poor people. What we don't know is how to photograph affluence - whose other face is poverty.
What you photograph is responsible for how a photograph looks - the form, the design, whatever word you want to use.
You've got a number of things that take place that are peculiar to still photography. One: how a picture looks - what you photograph is responsible for how a photograph looks. In other words, it's responsible for the form.
I always wanted to make an abstract photograph. I would photograph walls, sports interiors, marks on the walls people made. Even looking back it makes so much sense. It's like it was a fight against the photograph.
Mr. President, Mrs. Obama. There is a photograph of you [hugging] that went viral, became the most shared photograph in the history of Twitter. How do you keep the fire going?
When you photograph people in color you photograph their clothes. When you photograph people in black and white, you photograph their soul!
What matters is not what you photograph, but why and how you photograph it. Even the most controversial subject, if depicted by a sensitive photographer with honesty, sympathy, and understanding, can be transformed into an emotionally rewarding experience.
I guess my choice of medium depends on how I want to interpret the idea. Sometimes the interpretation works best in a photograph, and then sometimes it works best in a drawing. But most often times, with the work, everything starts with the diorama with the photograph. Then I'm just filtering out ideas and images from the photograph and reinterpreting them in other mediums.
Well, in terms of what a camera does. Again, you go back to that original idea that what you photograph is responsible for how it [the photograph] looks. And it's not plastic, in a way. The problem is unique in photographic terms.
I approached photography the only way that I knew how to approach anything: as a job. I would get up, photograph all morning, stop and have lunch, and then, photograph all afternoon. I didn't think that I had to wait for some inspiration.
I have always done the opposite of what I was trained to do... Having little technical background, I became a photographer. Adopting a machine, I do my utmost to make it malfunction. For me, to make a photograph is to make an anti-photograph.
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