A Quote by Peter van Agtmael
Sometimes the picture is more interesting than what is going on. Sometimes the picture is suggestive of greater things in society or the history of what might be connected to the theme in the pictures and those are worth exploring.
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A picture may be worth 1,000 words, but I think if the picture is made in MS Paint, the going rate might be slightly less.
You start to think in terms of making an album that might be greater than the sum of its parts. It's sort of like having a lot of footage and then editing it into something that will make sense to a viewer, you know. Sometimes it might involve even working on an older song that might complete that picture.
A picture, to be an interesting picture, must be more than a picture, otherwise it is only a reproduction of an object, and not an object of value in itself.
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.
More than conventional picture books, the notebook format allows me to leap from words to images, and this free-flowing back-and-forth inspires my best work. It reflects the way I think - sometimes visually, sometimes verbally - with the pictures not there just to illustrate the text but to replace it, to tell their own story.
A picture is worth 10K words - but only those to describe the picture. Hardly any sets of 10K words can be adequately described with pictures.
I never know if my picture is a good picture or a bad picture, because I'm not making pictures thinking of the public, I'm making pictures to realize myself.
It's not fair that our name can be used in any newspaper, any article connected with anything, and we can't really fight about it. It's like any newspaper that might take a picture of you, bad or good, and sometimes they're awful pictures, and they can use them without your approval and you can't do anything about it.
Of course, you decide which story you want to tell. For me, it's been very authentic, so sometimes I'm super happy, and I post four pictures one after the other; sometimes I'm busy, and I don't. Sometimes I'm sad, and I post a sad picture.
If anyone gets in my way when I'm making a picture, I become irrational. I'm never sure what I am going to do, or sometimes even aware of what I do-only that I want that picture.
Most of the time the ones who dislike the pictures the most confirm to me that the picture has hit home and is probably truer than I know. Nobody minds a boring picture, they mind a picture that has gotten to the soft core.
Really the truth is just a plain picture. A plain picture of, let's say, a tramp vomiting in the sewere. You know, and next door to the picture Mr. Rockefeller or Mr. C. W. Jones on the subway going to work. You know, any kind of picture. Just make a collage of pictures.
I can't just wear whatever when I go out because somebody might want to take a picture. People are, like, taking pictures of me in my car when I'm driving. It's crazy. I kind of hate it sometimes.
Everybody can take a good picture. Everybody is interesting. Everyone has an interesting face. Some people are more difficult or more nervous or more tired. When you do a movie, you have action, you're talking, you're moving. You don't see the camera. Taking a picture with a photographer, you don't talk, it's more difficult than in a movie for your body to relax, to be yourself.
One paradox I have found is that, the more you use computers in picture-making, the more hand-made the picture becomes. Oddly, then, digital technology is leading, in my work at least, toward a greater reliance on handmaking because the assembly and montage of the various parts of the picture is done very carefully by hand.
You find [reverberations from 9/11 ] in them most unexpected places, like graffiti on a wall. Sometimes it's a faded picture; sometimes it's a newspaper tacked to a wall. Sometimes it's weird paraphernalia related to it, home constructed paraphernalia. It resonates through society and continues to resonate today.
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