A Quote by Susie Bright
Photographs have always been the tar baby of censors and obscenity laws. Literature can certainly (if it's any good) conjure up the most pornographic imagination. But photographs dare to be real. No matter how contrived or constructed they are, there's that damn body staring you in the face.
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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.
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.
I agree that all good photographs are documents, but I also know that all documents are certainly not good photographs. Furthermore, a good photographer does not merely document, he probes the subject, he 'uncovers' it.
I believe in the resonance and staying power of quiet photographs. These photographs required a certain seeing, but few special techniques, and no tricks. Something though was hard. It was hard being between photographs and not knowing when or how another image would reveal itself.
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.
As a scientist Miss [Rosalind] Franklin was distinguished by extreme clarity and perfection in everything she undertook. Her photographs are among the most beautiful X-ray photographs of any substance ever taken.
In a world where the 2 billionth photograph has been uploaded to Flickr, which looks like an Eggleston picture! How do you deal with making photographs with the tens of thousands of photographs being uploaded to Facebook every second, how do you manage that? How do you contribute to that? What's the point?
Photographs are perhaps the most mysterious of all the objects that make up, and thicken, the environment we recognize as modern. Photographs really are experience captured, and the camera is the ideal arm of consciousness in its acquisitive mood.
I don't consider [my] photographs fashion photographs. The photographs were for fashion, but at the same time they had an ulterior motive, something more to do with the world in general.
When I am preparing my 'lookalike' photographs, I think about the character of the real people, because, if the photographs are going to be plausible, you have to convince the viewer that they could have happened.
There is no truth in photography. One can't reproduce an absolute truth. That said, I don't see [my photographs] as being any less truthful than any other photographs.
My photographs tried to find the politicians at their most wary, most vulnerable, and perhaps most truthful moments. I wanted the photographs to reveal the person through stance and stare, when he or she was most reflective or off guard, in order to measure the person and event unfolding.
Still photographs are the most powerful weapon in the world. People believe them, but photographs do lie, even without manipulation. They are only half-truths.
I'm very interested in making the photographs look real, but a lot of them are highly synthetic. They're hybrids, located somewhere between the found and the constructed.
All photographs are about light. The great majority of photographs record light as a way of describing objects in space. A few photographs are less about objects and more about the space that contains them. Still fewer photographs are about light itself.
Every year, the memories I have of my father become more faint, unclear, and distant. once they were vivid and true, then they became like photographs, and now they are more like photographs of photographs.
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