A Quote by Robert Adams
I began making pictures because I wanted to record what supports hope: the untranslatable mystery and beauty of the world. Along the way, however, the camera also caught evidence against hope, and I eventually concluded that this, too, belonged in pictures if they were to be truthful and thus useful.
Related Quotes
As ephemeral as our footprints were in the sand along the river, so also were those moments of childhood caught in the photographs. And so will be our family itself, our marriage, the children who enriched it and the love that has carried us through so much. All this will be gone. What we hope will remain are these pictures, telling our brief story.
I collected pictures and I drew pictures and I looked at the pictures by myself. And because no one else ever saw them, the pictures were perfect and true. They were alive.
The hallway of every man's life is paced with pictures; pictures gay and pictures gloomy, all useful, for if we be wise, we can learn from them a richer and braver way to live.
Because even very young people are expert readers of pictures, you can convey very complex and subtle messages through pictures that you'd need loads of words to explain. Making a picture book is also a bit like making your own film - and you can make anything you want happen, however impossible!
The beauty of having nothing to lose, is you learn the beauty of having everything to gain.
This is where hope lives.
Hope can’t be taken.
Hope can’t be lost.
Hope can’t be broken.
When we are boiled down to what we are as people. We are not love, because we hope to love, we are not money or who we hold, because we hope to have and to hold. We are not religion or God, because we enter into belief in the hope we get something back for ourselves. We are not a soul.
We are hope.
Pictures! Pictures! Pictures! Often, before I learned, did I wonder whence came the multitudes of pictures that thronged my dreams; for they were pictures the like of which I had never seen in real wake-a-day life. They tormented my childhood, making of my dreams a procession of nightmares and a little later convincing me that I was different from my kind, a creature unnatural and accursed.
In practically every film you experience, you can see the director following the text. Illustrating the words first, making the pictures after, and, alas, so often not making pictures at all, but holding up the camera to do its mimetic worst.
With my pictures, what I hope is that it encourages the reader to imagine more pictures of his own.
I hope for quick, fluent copy and memorable pictures. The words would not 'describe' the pictures; the pictures would not 'illustrate' the words. Together, they would carry a stamp and tell a story.
My sympathies go out to the young performers today because they are under a microscope in a way I wasn't. Now everybody's got a camera phone and can record at will or take pictures of you. It's just a different world. I don't know how I would have fared back then.
Making photos is helpful of course to master the craft. To get comfortable with the camera. Learn what a camera can do and how to use the camera successfully. Doing exercises for example if you try to find out things that the camera can do that the eye cannot do. So that you have a tool that will do what you need to be done. But then once you have mastered the craft the most important thing is to determine why you want to shoot pictures and what you want to shoot pictures of. That's where the thematic issue comes to life.
I'm making the art for me first. I'm making it because these are the pictures I want to see. I'm making pictures that don't yet exist.
Most of the photographs I make are personal pictures and never end up in print. Even the magazines I shoot for on assignment publish very few of the actual selects. Sometimes these personal pictures will end up in a book of my work. Oftentimes, however, they are simply photographs which I hope resonate, yet rarely find a publication home. I do a lot of personal work in Rio de Janeiro, and this of a parkour artist making a jump on Ipanema Beach is such a moment.
I'm the sort of person who takes a camera to dinner or a nightclub because I enjoy taking pictures of people. I tweet all my pictures, which is bad.
And then the spirit brings hope, hope in the strictest Christian sense, hope which is hoping against hope. For an immediate hope exists in every person; it may be more powerfully alive in one person than in another; but in death every hope of this kind dies and turns into hopelessness. Into this night of hopelessness (it is death that we are describing) comes the life-giving spirit and brings hope, the hope of eternity. It is against hope, for there was no longer any hope for that merely natural hope; this hope is therefore a hope contrary to hope.
Sexuality, eroticism and desire are important for all of us. But that is also the contradiction. How can we speak about pictures and, for example, say no to this way of representing a woman's body? It's also a camera-and-object problem, of who is really guiding the camera.
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