A Quote by Philip Jones Griffiths
[Photojournalism] really is the only branch of photography that's a credit to our profession. We see, we understand; we see more, we understand more.
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I believe that nothing can be more abstract, more unreal, than what we actually see. We know that all we can see of the objective world, as human beings, never really exists as we see and understand it. Matter exists, of course, but has no intrinsic meaning of its own, such as the meanings that we attach to it. We can know only that a cup is a cup, that a tree is a tree.
I understand everything,” he said. “You understand nothing, but it really doesn’t matter, since what you mean is, you’re glad to see me, just as I’m glad to see you because no more loneliness.” “That’s what I mean,” said Fezzik.
You know, there was a recent poll which said that young people in the generation of the students here felt it was far more likely that they would see a UFO than that they would draw Social Security... It's very important you understand this. Once you understand this, you realize this is not an episode from the X Files, and you're not more likely to see a UFO if you do certain specific things.
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.
Try to walk as much as you can, and keep your love for nature, for that is the true way to learn to understand art more and more. Painters understand nature and love her and teach us to see her. If one really loves nature, one can find beauty everywhere.
Once we see more of our need and understand more of what Christ has done for us, he will become more precious to us. And this, in turn, will enable our obedience far more than sheer grunt effort.
I didn't do well in high school, but I took photography, and I loved being able to capture moments. It led to more and more photography, and fashion was the angle into photography for me. It was incredible to see photographs by Irving Penn or Helmut Newton. I was really intrigued by that, and that's what led me to New York City.
As a professional photographer I take photographs for other people to see - but I want them to see what I see. So I never assume that only a few people will appreciate what I do. At all times, the public should be able to understand what I've done, even if they don't understand how I've done it.
Digital has really made the fashion industry a lot more transparent. So people can see and understand how the industry really works, and participate in an industry that was very inaccessible to people. The only thing that people used to see before was the end product. Anyone can participate in it now.
I have found that the many imbalances within our individual lives result in an overall more worldly balance. What I mean is that no matter how unfair I think something is, I need only look at the bigger picture to see how, in a way, it fits... however impossible it is to understand it or see it at the time.
I think the more you understand myths, the more you understand the roots of our culture and the more things will resonate. Do you have to know them? No, but certainly it is nice to recognise how deeply these things are embedded in our literature, our art.
Every time you show something to somebody they're going in one direction, when they see that thing you did they're going to go off track - maybe towards a direction that you think is more important. They'll be more discerning, they'll probably see things a little bit more profoundly, they'll spend more time trying to understand what's in front of them.
I think more to the point, these pivotal times means something other than a politician. I understand the economy. I understand the world. I have a lot of foreign policy experience. I understand bureaucracies. I understand technology, and I understand leadership.
Photojournalism is photography with more story telling. A single image can be amazing and dramatic. I started out shooting individual images, but I found I wanted to have more of a voice: to actually say something. I wanted to do something more personal over a long period of time, with more authorship.
The happy and the suffering probably understand life equally well, but the sufferers may see a little more clearly how little it is that they understand.
You see a picture and you understand perfectly, immediately, the basic thing that's happening. It's probably more accessible because we are in a culture of images. People are used to seeing stories that way. They understand looking at pictures.
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