A Quote by Raymond Depardon

The subject isn't always a help to the photographer, it's like handcuffs. — © Raymond Depardon
The subject isn't always a help to the photographer, it's like handcuffs.
A photographer is a witness. He has a moral duty. Every picture must be true and honest. I believe a photographer's strength is his ability to accurately record reality. There are photographers who think they are lucky if they find unusual or special subject. But it is never the subject that is so marvelous. It is how alive and real the photographer can make it.
When I first started to take photographs in Czechoslovakia, I met this old gentleman, this old photographer, who told me a few practical things. One of the things he said was, "Josef, a photographer works on the subject, but the subject works on the photographer."
Fantasy isn't something I put into the pictures; I don't try and inject them with a sense of play. But it's about being an honest photographer; a photograph is as much of a mirror of the photographer as it is the subject.
You can put handcuffs on people who push the envelope. When they break the law, they deserve to have handcuffs.
I've never not been sure that I was a photographer any more than you would not be sure you were yourself. I was a photographer, or wanting to be a photographer, or beginning - but some phase of photographer I've always been.
Cages come in lots of different colors and shapes. Some are gilded, while others have a slamming door. But golden handcuffs are still handcuffs.
Well, I'm not going to get into that. I think that those kind of distinctions and lists of titles like "street photographer" are so stupid. I'm a photographer, a still photographer. That's it.
The personality and style of a photographer usually limits the type of subject with which he deals best. For example Cartier-Bresson is very interested in people and in travel; these things plus his precise feeling for geometrical relationships determine the type of pictures he takes best. What is of value is that a particular photographer sees the subject differently. A good picture must be a completely individual expression which intrigues the viewer and forces him to think.
You do your work as a photographer and everything becomes past. Words are more like thoughts; the photographer's picture is always surrounded by a kind of romantic glamor - no matter what you do, and how you twist it.
Sometimes a photographer is a passenger, sometimes a person who stays in one place. What he watches changes constantly, but his watching never changes. He doesn't examine like a doctor, defend like a lawyer, analyze like a scholar, support like a priest, make people laugh like a comedian, or intoxicate like a singer. He only watches. This is enough. No, this is all I can do. All a photographer can do is watch. Therefore, a photographer has to watch all the time. He must face the object and make his entire body an eye. A photographer is someone who wagers everything on seeing.
A photographer must always work with the greatest respect for his subject and in terms of his own point of view.
I never claim my photographs reveal some definitive truth. I claim that this is what I saw and felt about the subject at the time the pictures were made. That's all that any photographer can claim. I do not know any great photographer who would presume otherwise.
I became a photographer in order to be a war photographer, and a photographer involved in what I thought were critical social issues. From the very beginning this was my goal.
Whips and chains, handcuffs, smack a little body up with my belt. Scream, help play my game, dracula man, I'll get my fangs.
I'm a photographer, period. I love photography, the immediacy of it. I like the craft, the idea of saying 'I'm a photographer.'
In a way, it's like the photographer always has his vision of me. The pictures that I'm known for are not really my image, they're always the photographer's vision of me. I can look a hundred different ways, but what people see of me in pictures is not really my image.
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