A Quote by Peter C Bunnell
The nineteenth-century way of looking at the photograph was as a mirror for the memory, and at that time the photographs almost looked like mirrors, with their polished metallic surfaces.
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I find mirrors detestable; I dislike seeing myself. Of course, there's a mirror in the bathroom, but it's a magnifying one for shaving. Photographs are fine, but I don't like mirrors because they take you by surprise.
People aren't really looking at the result when taking a picture on an iPhone. And they don't print it. So to me, it's almost not a photograph. It's like looking in the mirror. It's a tool I don't relate to at all.
As I was walking up the stairs to dad's old room, and I was looking at the photographs, I started thinking that there was a time when these weren't memories. That someone actually took the photograph, and the people in the photograph had just eaten lunch or something.
Given that the nineteenth century was the century of Socialism, of Liberalism, and of Democracy, it does not necessarily follow that the twentieth century must also be a century of Socialism, Liberalism and Democracy: political doctrines pass, but humanity remains, and it may rather be expected that this will be a century of authority ... a century of Fascism. For if the nineteenth century was a century of individualism it may be expected that this will be the century of collectivism and hence the century of the State.
I love having the photograph in my hand. I love looking at the photograph. I love looking at a box of photographs. I just love the still photograph.
But there are times when thinking is misplaced, like when taking photographs. You cannot think your way to making photographs; you can photograph your way to clearer thinking.
Most of what I read is for reviewing purposes or related to something I want to write about. It's slightly utilitarian. I definitely miss that sense of being a disinterested reader who's reading purely for the pleasure of imagining his way into emotional situations and vividly realized scenes in nineteenth-century France or late nineteenth-century Russia.
There comes a time when you look into the mirror and you realize that what you see is all that you will ever be. And then you accept it. Or you kill yourself. Or you stop looking in mirrors.
It seems fair to say that while the moral standards of the nineteenth century persisted almost unchanged into the twentieth, moral practices changed sharply, and that though the standards of the nineteenth century persisted the institutions that had sustained them and the sanctions that had enforced them lost influence and authority.
Let Go of Your Worries Let go of your worries and be completely clear-hearted, like the face of a mirror that contains no images. If you want a clear mirror, behold yourself and see the shameless truth, which the mirror reflects. If metal can be polished to a mirror-like finish, what polishing might the mirror of the heart require? Between the mirror and the heart is this single difference: the heart conceals secrets, while the mirror does not.
The nineteenth century planted the words which the twentieth century ripened into the atrocities of Stalin and Hitler. There is hardly an atrocity committed in the twentieth century that was not foreshadowed or even advocated by some noble man of words in the nineteenth.
I didn't really know what I was looking at when I first came across Man Ray's 'Dust Breeding,' his photograph of a work by Marcel Duchamp called 'Large Glass.' It looked like an aerial photograph or a view through a microscope.
I can see the character in a photograph, in the way a guy stands or holds his hands, the way he buckles his belt. I fantasize a lot looking at photographs. I'm sure that doesn't work for many people.
I saw this girl dancing, and I moved closer to her because I liked the way she looked, haughty and sexy but not in a slutty way, and when I got closer to her, I realized she was me and I was looking at my reflection in the mirror. I looked like the kind of girl I'd always wanted to befriend.
Each time I arrived in a new city, I'd get lost in the streets and photograph everything that looked interesting, taking nearly a thousand photographs every day. After each day of shooting, I'd select 30 or 40 of my favorite photographs and post them on Facebook. I named the albums after my first impression of each city.
All of us tend to look at photographs as if we are simply gazing through a two-dimensional window onto some outside world. This is almost a perceptual necessity; in order to see what the photograph is of, we must first repress our consciousness of what the photograph is.
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