A Quote by Tim Walker

I like capturing stuff that is disappearing - that’s the point of photography. What I am photographing is an imaginary place that never existed, but is connected to something that has already been.
Few photographers have ever considered the photography of wild animals, as distinctly opposed to the genre of Wildlife Photography, as an art form. The emphasis has generally been on capturing the drama of wild animals IN ACTION, on capturing that dramatic single moment, as opposed to simply animals in the state of being.
It has been important to me, as an historian of photography, to understand photography by photographing.
Bowdoin was the first place that I fell in love with. When I visited, I just had never been to a place with that many resources and that much access to information. That was stuff that you saw in movies. I didn't know that existed in real life.
I chose makeup over photography because there was something very sensual about makeup that I loved. But photography was always in the back of my mind. That was always something that I was very connected with: looking at magazines, enjoying photography, and then taking pictures myself when I was a kid.
Every bit of you has been replaced many times over... The point is that you are like a cloud: something that persists over long periods, whilst simultaneously being in flux. Matter flows from place to place and momentarily comes together to be you. Whatever you are, therefore, you are not the stuff of which you are made.
Photography has always been about capturing light.
Quoting Dudjom Rinpoche on the buddha-nature: No words can describe it No example can point to it Samsara does not make it worse Nirvana does not make it better It has never been born It has never ceased It has never been liberated It has never been deluded It has never existed It has never been nonexistent It has no limits at all It does not fall into any kind of category
Snapshots that have been taken of me working show something I was not aware of at all, that over and over again I'm holding my own body or my own hands exactly like the person I'm photographing. I never knew I did that, and obviously what I'm doing is trying to feel, actually physically feel, the way he or she feels at the moment I'm photographing them in order to deepen the sense of connection.
nostalgia, underlying cosmological explanation for Weak but detectable interaction between two neighboring universes that are otherwise not causally connected. Manifests itself in humans as a feeling of missing a place one has never been, a place very much like one’s home universe, or as a longing for versions of one’s self that one will never, and can never know.
Photography is all about capturing a mood, a feeling. I feel a special connection with nature, often very powerful. This late afternoon was phenomenal. Standing on the edge of the ocean, I gasped in awe as the holy light illuminated this cathedral window. Witnessing such a moment and capturing it is what I live for. Mother Nature is so powerful, I never underestimate Her.
I am a storyteller. I've never been interested in just taking the single image and moving on. I always like to stay with the people I'm photographing for long periods of time.
History counts its skeletons in round numbers. A thousand and one remains a thousand, as though the one had never existed: an imaginary embryo, an empty cradle, ... emptiness running down steps toward the garden, nobody's place in line.
I was at a stage in my life where I felt sort of comfortable being a dislocated person emotionally, feeling in some ways like a man without any particular country. I had come to a nice space with the imaginary Cuba or the imaginary America that I thought existed.
Childhood has been idealised as a lost garden paradise to which we can never return. We are excluded from this world of carelessness, innocence and unity. But the imaginary kingdom is nothing more than a projection of adult ideas and concerns onto the image, an expression of our own yearnings. By photographing children alone, divorced from any social setting, I allow them to exist on their own...I am exploring the equivocal connection between self and world.
It was only after a while, after photographing mines and clear-cutting of forests in Maine, that I realized I was looking at the components of photography itself. Photography uses paper made from trees, water, metals, and chemistry. In a way, I was looking at all these things that feed into photography.
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.
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