A Quote by Robert Heinecken

I am interested in the relationships and play between an unfamiliar picture/object context and the familiar photographic image. — © Robert Heinecken
I am interested in the relationships and play between an unfamiliar picture/object context and the familiar photographic image.
You come to the photograph as an aesthetic object with no context... Then you step in and read the text and then out again to revisit the image in a completely different way. I'm interested in that space between text and image. The piece becomes the negative space between the two.
I don't particularly care about photographic authorship. Whether an astronaut who doesn't even have a viewfinder makes an image, a robotic camera, a military photographer, or Mike Light really doesn't matter. What matters is the context of the final photograph and the meaning it generates within that context.
I do want to write about social/cultural/historical context. I'm interested in relationships, in character, but within a specific social context. Which is kind of a political thing, I admit that. But it's what I'm interested in, and it's how I believe human behavior is legible.
I write from my knowledge not my lack, from my strength not my weakness. I am not interested if anyone knows whether or not I am familiar with big words, I am interested in trying to render big ideas in a simple way. I am interested in being understood not admired.
A picture, to be an interesting picture, must be more than a picture, otherwise it is only a reproduction of an object, and not an object of value in itself.
In Britten or Berg, there's a tension between the sweet and the sour, between the familiar and the unfamiliar, the tonal and the atonal, the happy and the sad. That, to me, is what all western art is about - that tension. It's why we want to say anything at all.
I'm not interested in painting; I'm not interested in making a picture. Then what the hell am I interested in? I must be interested in this process.
... what is faked [by the computerization of image-making], of course, is not reality, but photographic reality, reality as seen by the camera lens. In other words, what computer graphics have (almost) achieved is not realism, but rather only photorealism - the ability to fake not our perceptual and bodily experience of reality but only its photographic image.
The photographic image has great possibilities. The magical photograph attempts to go beyond the immediate context of the recorded experience into the realm of the indefinable. The photographer as magician is acutely aware of the multiplicity of associations submerged in the appearance of the objective world.
When the object that is produced, the photographic image has the ability to make tears come to your eyes; to inspire you to the point where you have to catch your breath, then nothing else matters.
When the object that is produced...the photographic image...has the ability to make tears come to your eyes; to inspire you to the point where you have to catch your breath, then nothing else matters.
I think literature can make familiar the unfamiliar, and the unfamiliar is very much about the dispossessed, and so the value of literature seems to me to go into the stories that not everybody wants to tell.
I would say that the emblematic photographic image is a picture from inside a room looking out. I think this defines photography. It's the metaphor for the notion of first sight. What one saw first.
To see something spectacular and recognise it as a photographic possibility is not making a very big leap. But to see something ordinary, something you’d see every day, and recognize it as a photographic possibility - that is what I am interested in.
What seems natural to us is probably just something familiar in a long tradition that has forgotten the unfamiliar source from which it arose. And yet this unfamiliar source once struck man as strange and caused him to think and to wonder.
A picture should be a re-creation of an event rather than an illustration of an object; but there is no tension in the picture unless there is a struggle with the object.
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