A Quote by Robert Heinecken

There is a great difference between shooting a photograph and making a photograph. — © Robert Heinecken
There is a great difference between shooting a photograph and making a photograph.
I don't think that there's that much difference between a photograph of a fist up someone's ass and a photograph of carnations in a bowl.
A photograph is a photograph. When I am making a picture I am just interested in making a very interesting photograph. I don't care where it's going to go.
There is a vast difference between taking a picture and making a photograph.
How foolish of me to believe that it would be that easy. I had confused the appearance of trees and automobiles, and people with a reality itself, and believed that a photograph of these appearances to be a photograph of it. It is a melancholy truth that I will never be able to photograph it and can only fail. I am a reflection photographing other reflections within a reflection. To photograph reality is to photograph nothing.
When you photograph people in color you photograph their clothes. When you photograph people in black and white, you photograph their soul!
I do not photograph for ulterior purposes. I photograph for the thing itself - for the photograph - without consideration of how it may be used.
A photograph records both the thing in front of the camera and the conditions of its making... A photograph is also a document of the state of mind of the photographer. And if you were to extend the idea of the set-up photograph beyond just physically setting up the picture, I would argue that the photographer wills the picture into being.
If you scratch a great photograph, you find two things; a painting and a photograph.
What if I said that every photograph I made was set up? From the photograph, you can't prove otherwise. You don't know anything from the photograph about how it was made, really.
Someone said to me, early on in film school... if you can photograph the human face you can photograph anything, because that is the most difficult and most interesting thing to photograph.
I come unprepared to shooting. I don't have lights, I don't have assistants, I just go and meet somebody and take a photograph. That's really basic, and that's how I used to work when I was 17 or 18 in Holland. I was given very little time to photograph people and I was very scared.
To go and photograph an airbase is not only to photograph something but it is to insist on one’s right to photograph. You’re flexing that right.
In making portraits, I refuse to photograph myself as do so many photographers. My style is the style of the people I photograph.
I always wanted to make an abstract photograph. I would photograph walls, sports interiors, marks on the walls people made. Even looking back it makes so much sense. It's like it was a fight against the photograph.
For the photograph's immobility is somehow the result of a perverse confusion between two concepts: the Real and the Live: by attesting that the object has been real, the photograph surreptitiously induces belief that it is alive, because of that delusion which makes us attribute to Reality an absolute superior, somehow eternal value; but by shifting this reality to the past ("this-has-been"), the photograph suggests that it is already dead.
A photograph never grows old. You and I change, people change all through the months and years but a photograph always remains the same. How nice to look at a photograph of mother or father taken many years ago. You see them as you remember them. But as people live on, they change completely. That is why I think a photograph can be kind.
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