A Quote by Robert Rauschenberg
Sometimes I have taken photographs and just felt so excited that I could barely hold the camera steady, and the photo was boring.
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Here's what I think: the best author photo ever taken is the author photo of you holding your extra-large engulfing rabbit and looking straight at the camera. I never hope to have one so good. The only way I guess it could be any more literary is if the rabbit were smoking a Gauloise and drinking a tiny cup of coffee.
When I saw myself with barely any makeup at, it was such a… like, I'm so, so attached to my pink lipstick, it's hard. I feel that it's become a part of me. To go in front of the camera, without pink lips or big ol' crazy lashes — you know, nothing — I felt naked. It was scary! So this photo shoot was a real accomplishment in my eyes.
Every photograph is a realization of one of the possibilities contained within the program of the camera. The number of such possibilities is large, but it is nevertheless finite. It is the sum of all those photographs that can be taken by a camera.
I don’t have a philosophy. I have a camera. I look into the camera and take pictures. My photographs are the tiniest part of what I see that could be photographed. They are fragments of endless possibilities.
Now everyone's main objective of taking photographs is to have a photograph for Twitter or Facebook. I find that troubling. If you have an opportunity to meet the Dalai Lama, don't work out your camera or iPhone issues. Sit and a listen to what the man is saying, because nine times out of 10, you're not going to look at that photo. You're not going to look at the video. As a photographer, I don't carry a camera. I have my iPhone, but I don't carry a camera. I want to live.
My camera, my intentions stopped no man from falling. Nor did they aid him after he had fallen. It could be said that photographs be damned for they bind no wounds. Yet, I reasoned, if my photographs could cause compassionate horror within the viewer, they might also prod the conscience of that viewer into taking action.
A good print is really essential. I want to take strong documentary photographs that are as good technically as any of the best technical photographs, and as creative as any of the best fine-art photographs. [...] I don't want to just be a photo essayist; I'm more interested in single images...ones that I feel are good enough to stand on their own.
The pictures from the first professional photo session that the young David
Beckham submitted himself to are extraordinary. He has a barely suppressed
smile, as though he and the cameraman are complicit in the understanding
that this is not yet David Beckham we see and that there is an element of
deceit in selling the photographs as such
The camera will never compete with the brush and the palette, until such time as photographs can be taken in Heaven or Hell.
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.
Photographs also show the way that the camera sees. It's not just me or you or anybody else. The camera does something that is different from our own setting.
Sometimes I'll use four or five different photo apps on one photo just to get it where I want it to be.
When I first started making photo pieces it wasn't with the idea of a commitment to the medium. I didn't think I would have to become a photographer to make my photographs. I recall that anything could be used as material for art in that era. Photography was just one more thing.
My style is in the 21st century. If you look at the process, it goes from photography through Photoshop, where certain features are heightened, elements of the photo are diminished. There is no sense of truth when you're looking at the painting or the photo or that moment when the photo was first taken.
The photographs of space taken by our astronauts have been published all over the place. But the eye is a much more dynamic mechanism than any camera or pictures. It's a more exciting view in person than looking at the photographs. Of course, I personally am sick and tired of hearing people talk like that: I want to see it myself!
Sometimes people come in as a director, and they just want the result, and they barely want that to tell you the truth. Sometimes directors barely talk to the actors; they are so focused on the cinematic elements of the movie, getting the shot and getting the lighting right or getting the CGI effects right and all of that, and they just trust that you are just going to do what you do.
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