A Quote by Ray Metzker

The collection of photographs is a statement about the relationship of my camera and me. — © Ray Metzker
The collection of photographs is a statement about the relationship of my camera and me.
To many, mathematics is a collection of theorems. For me, mathematics is a collection of examples; a theorem is a statement about a collection of examples and the purpose of proving theorems is to classify and explain the examples.
The true authenticity of photographs for me is that they usually manipulate and lie about what is in front of the camera, but never lie about the intentions behind the camera.
Photographs also show the way that the camera sees. It's not just me or you or anybody else. The camera does something that is different from our own setting.
I've just finished my next collection, Possible Side Effects, and I'm now working on a collection of holiday stories as well as a memoir about my relationship with my father.
MAC allowed me to have complete freedom on the collaborations—from the shades, the look-and-feel, to the campaign visuals. I have to admit that the visual aspect of the collection excites me most. For designers, we care about the photographs much more than a Ferrari.
There is no such thing as a good paparazzo. A good paparazzo, that's a paparazzo who has had his camera broken. In fact, they are bandits, thieves of photography. (Statement after photographs were published showing Jackie Onassis sunbathing nude.)
All photographs are about light. The great majority of photographs record light as a way of describing objects in space. A few photographs are less about objects and more about the space that contains them. Still fewer photographs are about light itself.
I have more of a relationship with the subject than I do with my camera equipment. To me, camera equipment is like a tin of shoe polish and a brush - I use that as a tool, but my basic camera is my emotion and my eyes. It's not anything to do with the wonderful cameras I use.
My parents offered me my first camera for my birthday and I developed an exclusive passion for it over the years. Since I was not the most social kid on the block, the camera helped me to express myself, invent my own language - something like a secret garden. I decided early on I would not write in a diary but take silent photographs instead.
Photographs are perhaps the most mysterious of all the objects that make up, and thicken, the environment we recognize as modern. Photographs really are experience captured, and the camera is the ideal arm of consciousness in its acquisitive mood.
I don’t have a philosophy. I have a camera. I look into the camera and take pictures. My photographs are the tiniest part of what I see that could be photographed. They are fragments of endless possibilities.
He who writes must master the rules of grammar. He who shoots photographs needs only to follow the instructions as given by the camera.... This leads to the paradox that the more people shoot photographs, the less they are capable of deciphering them.
Painting requires skill. Photography is created by the camera, and one cannot fully control what the camera sees. So people take many photographs because several must always be discarded.
There's something very satisfying about old cameras because they're ingenious. I mean when you take them apart and actually see, 'Oh, this is how we make photographs,' it's an ingenious thing, but it feels like it's in a way a layman can appreciate, whereas a digital camera, I don't even begin to know what goes into making a digital camera.
Every photograph is a realization of one of the possibilities contained within the program of the camera. The number of such possibilities is large, but it is nevertheless finite. It is the sum of all those photographs that can be taken by a camera.
My photographs are not just about the instant of movement you capture in the camera. It's much more total, about constant movement that became static.
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