A Quote by Peter van Agtmael
I was taking all prints and I brought them to the Magnum meetings, trying the old Josef Koudelka trick: Give them to photographers, who are getting bored during the talks about the economics of the agency, to look through with a pen. They'll separate them in two piles. I started to find the core pictures that people seem to relate to.
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We are surrounded by pictures; we have an abundance of theories about them, but it doesn't seem to do us any good. Knowing what pictures are doing, understanding them, doesn't seem necessarily to give us power over them.
When I started working in fashion, I didn't have money to buy photographs, so I'd Xerox pictures from magazines and put them in notebooks. When I'd start a collection, I'd sit with my old notebooks and look through them for inspiration.
For me what photographers say about their photos doesn’t have any importance. For me it is just enough to look at the pictures. Many times - for the boring pictures - people have to say so many things about them to show you there is something to them when many times there is nothing.
Every human being has hundreds of separate people living under his skin. The talent of a writer is his ability to give them their separate names, identities, personalities and have them relate to other characters living with him.
Give people a taste of Old Crow, and tell them it's Old Crow. Then give them another taste of Old Crow, but tell them it's Jack Daniel's. Ask them which they prefer. They'll think the two drinks are quite different. They are tasting images
I'd like to give people leaden boots in galleries, so they'd be a bit slower in front of my paintings. And that's because I spend so much time looking at them. I can look at them a long, long time without getting bored. I disappear.
You know, as photographers, we do pictures, and people either like them or they hate them.
When strong, avoid them. If of high morale, depress them. Seem humble to fill them with conceit. If at ease, exhaust them. If united, separate them. Attack their weaknesses. Emerge to their surprise.
I look to find the heart and soul of people, of my characters. I look for the truth of them and the truths about life that are presented through them.
Photographers should make three or four prints from one negative and then crop them differently. When I was art director at Harper's Bazaar and at several agencies as a consultant, young photographers would bring me their portfolios and all the prints would be in the same standard proportions, either for the Leica or the Rolleiflex. Many times, by limiting themselves in this way, they missed the true potentialities of their photographs.
People like to examine the things that frighten them, to look at them and give them names, so saints look for god, and scientists look for evidence. They're both just trying to take away from the mystery, to take away from the fear.
There are two kinds of photographers: those who compose pictures and those who take them. The former work in studios. For the latter, the studio is the world... For them, the ordinary doesn't exist: every thing in life is a source of nourishment.
Anyone can take pictures. What's difficult is thinking about them, organizing them, and trying to use them in some way so that some meaning can be constructed out of them. That's really where the work of the artist begins.
I'm distraught as I look at my boys - two are African American and one is Caucasian - because too many people see them differently. None of them should have to think about how law enforcement will treat them if pulled over for rolling through a stop sign.
There's kids out there that like me, so why aren't I taking the time to give back to them? If they adore me or they look up to me, just to whatever extent, I've got to show them that I care about them as well.
But in my imagination this whole thing developed and I started mixing up old folk songs with the Beatles beat and taking them down to Greenwich Village and playing them for the people there.
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