What's the point of a revolution without general copulation copulation copulation
I don't know that there were any rules for documentary photography. As a matter of fact, I don't think the term was even very precise. So as far as I'm concerned, the kind of photography I did in the FSA was the kind of photography I still do today, because it is based on passionate concern for the human condition. That is the basis of all the work that I do.
We don't belong here, but in the spiritual sky: As l'm fated for the material world, Get frustrated in the material world, Senses never gratified, Only swelling like a tide, That could drown me in the material world.
To know whether photography is or is not an art matters little. What is important is to distinguish between good and bad photography. By good is meant that photography which accepts all the limitations inherent in photographic technique and takes advantage of the possibilities and characteristics the medium offers. By bad photography is mean that which is done, one may say, with a kind of inferiority complex, with no appreciation of what photography itself offers: but on the contrary, recurring to all sorts of imitations.
I was attracted to photography because it was technical, full of gadgets, and I was obsessed with science. But at some point around fifteen or sixteen, I had a sense that photography could provide a bridge from the world of science to the world of art, or image. Photography was a means of crossing into a new place I didn't know.
If it doesn’t have ambiguity, don’t bother to take it. I love that, that aspect of photography - the mendacity of photography. It’s got to have some kind of peculiarity in it, or it’s not interesting to me.
As for the various kinds of montage photography, they are in reality not photography at all but a kind of painting in which photography is used - as pastiches of textiles are used in crazy-quilts - to form a mosaic. Whatever value the montage may have derives from painting rather than the camera.
I like to think of Photography 1.0 as the invention of photography. Photography 2.0 is digital technology and the move from film and paper to everything on a chip. Photography 3.0 is the use of the camera, space, and color and to capture an object in the third dimension.
I have tried to bring about better communication between people. I believe that humanitarian photography is like economics. Economy is a kind of sociology, as is documentary photography.
In the material sciences these are and have been, and are most surely likely to continue to be heroic days.
Photography's relationship with pornography is as old as photography. That kind of unholy relationship is formed from the very beginning, and there's a reason why: it's thoroughly enjoyable to be that voyeuristic. Voyeurism is a very old modality, and most of the history of photography is in some way related voyeurism.
Photography is such an important instrument in the education of our feelings and perception because of its duality. Photography represents the world we know, and suggests a world beyond what we can see. Creativity is the gap between perception and knowledge.
Photography is a kind of virtual reality, and it helps if you can create the illusion of being in an interesting world.
There's this idea that photography is a kind of testimony and therefore we're forbidden to tell lies with it. I think that's nonsense. Photography isn't testimony.
[Photography] remains servile to a thoughtless vision of the world... As the term snapshot suggests, photography seizes the moment and exhibits it.
"You know you are seeing such a photograph if you say to yourself, "I could have taken that picture. I've seen such a scene before, but never like that." It is the kind of photography that relies for its strengths not on special equipment or effects but on the intensity of the photographer's seeing. It is the kind of photography in which the raw materials-light, space, and shape-are arranged in a meaningful and even universal way that gives grace to ordinary objects."