A Quote by Stuart Franklin

There was as big a reaction after the revelations about Assad's chemical weapons. Nevertheless, that photograph did strike a singular chord. Which leads us to a larger fact: we don't understand why certain photographs create such an upheaval in one's soul. You look at them and go, "Oh my gosh." And that doesn't happen with television. It's unique to photography. Photographs are unique in that they are a frame abstracted out of reality, out of, in this case, a civil war. A single event can carry so much weight. And that is extraordinary.
The reason I do photographs is to help people understand my music, so it's very important that I am the same, emotionally, in the photographs as in the music. Most people's eyes are much better developed than their ears. If they see a certain emotion in the photograph, then they'll understand the music.
It is a nostalgic time right now, and photographs actively promote nostalgia. Photography is an elegiac art, a twilight art. Most subjects photographed are, just by virtue of being photographed, touched with pathos. ... All photographs are memento mori. To take photograph is to participate in another person's mortality, vulnerability, mutability. Precisely by slicing out this moment and freezing it, all photographs testify to time's relentless melt
To walk into a modern-day bookstore is a little bit like studying a single photograph out of the infinite number of photographs that cold be taken of the world: It offers the reader a frame.
Surely the memory of an event cannot pass for the event itself. Nor can the anticipation. There is something exceptional, unique, about the present event, which the previous, or the coming do not have. There is livingness about it, an actuality; it stands out as if illumined. There is the "stamp of reality" on the actual, which the past and future do not have.
Images anesthetize. An event known through photographs certainly becomes more real than it would have been if one had never seen the photographs ... But after repeated exposure to images it also becomes less real. ... 'concerned' photography has done at least as much to deaden conscience as to arouse it.
The inferiority of photographs to the best works of artists, so far as resemblance is concerned, lies in their catching no more than a single expression. If many photographs of a person were taken at different times, perhaps even years apart, their composite would possess that in which a single photograph is deficient.
When I've had enough of words, I go out into the city for a long walk; sometimes I'll go out walking for several miles. And I'll just take photographs and hope for something striking or unusual to happen that I can organize into a picture frame.
Photographs are diary entries That's all they can be. Photographs are just documentations of a day's event. At the same time, they drag the past into the present and also continue into the future. A day's occurrence evokes both the past and the future. That's why I want to clearly date my pictures. It's actually frustrating, that's why I now photograph the future
Saudi Arabia is so conservative. At first there were photographs of women I took that I couldn't publish - of women without their abayas. So I started writing out little anecdotes about things I couldn't photograph and wove it in with a more obscure picture and called it "moments that got away". I realised these worked as well as the photographs by themselves. There are a lot of photographers who feel the story is all in the photographs but I really believe in weaving in complementary words with the pictures.
If my people are wiped out you must destroy all photographs of us, because future generations will look at our photographs and be too ashamed at such a crime against humanity.
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.
Because each photograph is only a fragment, its moral and emotional weight depends on where it is inserted. A photograph changes according to the context in which it is seen: thus Smith's Minamata photographs will seem different on a contact sheet, in a gallery, in a political demonstration, in a police file, in a photographic magazine, in a book, on a living-room wall. Each o these situations suggest a different use for the photographs but none can secure their meaning.
I think that if you believe in regime change, you're mistaken. In 2013, we put 600 tons of weapons - us, Saudi Arabia, and Qatar - into the war against [Bashar] Assad. By pushing Assad back, we did create a safe space.
I began to realize that photographs, these still images, have a tremendous power to move your soul. They can change your life by what you choose to get out of them, and I started to collect photographs.
A portrait is not a likeness. The moment an emotion or fact is transformed into a photograph it is no longer a fact but an opinion. There is no such thing as inaccuracy in a photograph. All photographs are accurate. None of them is the truth.
Luckily for [Barack] Obama, the Russians came along and rescued him with this proposal [to confiscate Assad's chemical weapons] which he quickly accepted - it was a way out of the embarrassment of facing likely defeat. They still have the option of bombing if they want to. And incidentally, to add one comment about this, you'll notice that this would be a very good moment to institute a call for imposing the Chemical Weapons Convention on the Middle East.
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