A Quote by Richard Griffiths

I hate being the subject of photographs. — © Richard Griffiths
I hate being the subject of photographs.
Sex is not a subject in my photographs, or would only be if it had to do with romance, sometimes vulnerability. The photographs are quite clearly about happiness, or search for happiness.
Photographs are but one link in a potentially endless chain of reduplication; themselves duplicates (of both their objects and, in a sense, their negatives), they are also subject to further duplication, either through the procedures of printing or as objects of still other photographs.
I believe in the resonance and staying power of quiet photographs. These photographs required a certain seeing, but few special techniques, and no tricks. Something though was hard. It was hard being between photographs and not knowing when or how another image would reveal itself.
I agree that all good photographs are documents, but I also know that all documents are certainly not good photographs. Furthermore, a good photographer does not merely document, he probes the subject, he 'uncovers' it.
The ostensible subject of my photographs may be motion, but the subtext is time. A dancer's movements illustrate the passage of time, giving it a substance, materiality, and space. In my photographs, time is stopped, a split second becomes an eternity, and an ephemeral moment is solid as sculpture.
I hate those live action versions of animated cartoons. It ruins everything, the whole point of cartoons is to get away from photographs. I mean it would be stupid to say that cartoons are better than photographs but its true.
I know some photographs that are extraodrinary in their power and conviction, but it is difficult in photography to overcome the superficial power or subject; the concept and statement must be quite convincing in themselves to win over a dramatic and compelling subject situation.
He who thinks he can have flesh and bones without being subject to any external influence, or any accidents of matter, unconsciously wishes to reconcile two opposites, viz., to be at the same time subject and not subject to change. If man were never subject to change there could be no generation; there would be one single being, but no individuals forming a species.
You can hate me for being a woman, you can hate me for being smart, you can hate me for being funny, but you hate me because I am doing something you could never do. End of story.
Let the subject generate its own photographs. Become a camera.
I've had photographs taken for portraits because I very much prefer working from the photographs than from models... I couldn't attempt to do a portrait from photographs of somebody I didn't know.
The work is primarily subject-driven. All decisions flow from there. The photographs are all made in response to a unique subject, in particular context, at a specific moment in time. The thoughtful preparedness that defines my working method actually facilitates spontaneity and allows me to embrace surprise. I always have a game plan but view it as merely the jumping off point.
Portraits are the most intimate photographs. The image will survive the subject.
Authenticity is too big a subject to just toss in with the question about the photographs!
I hate red-carpet photographs!
I hate red carpet photographs!
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