A Quote by Victor Skrebneski

Portraits are the most intimate photographs. The image will survive the subject. — © Victor Skrebneski
Portraits are the most intimate photographs. The image will survive the subject.
I feel certain that the largest part of all photographs ever taken or being taken or ever to be taken, is and will continue to be, portraits. This is not only true, it is also necessary. We are not solitary mammals, like the elephant, the whale and the ape. What is most profoundly felt between us, even if hidden, will reappear in our portraits of one another.
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.
Approaching subject matter to photograph is like meeting a person and beginning a conversation. How does one know ahead of time where that will lead, what the subject matter will be, how intimate it will become, how long the potential relationship will last? Certainly, a sense of curiosity and a willingness to be patient to allow the subject matter to reveal itself are important elements in this process.
I have always loved the amateur side of photography, automatic photographs, accidental photographs with uncentered compositions, heads cut off, whatever. I incite people to make their self-portraits. I see myself as their walking photo booth.
All photographs are self-portraits.
I've always been into subcultures. In the '50s and '60s, what Pierre Molinier was doing was super subculture - he was taking self-portraits, it was very private, very intimate. I think that's actually how I started my drag - in my bedroom, taking MacBook self-portraits.
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.
We chose the most interesting image available to us to illustrate the theme of the cover, which is what we always try to do. We apply the same test to photographs of any public figure, male or female: does the image convey what we are saying? That is a gender-neutral standard.
Ancient portraits are symbolic images without any immediate relation to the individuals represented; they are not portraits as we understand them. It is remarkable that philologists who are capable of carrying accuracy to the extremes in the case of words are as credulous as babies when it comes to "images," and yet an image is so full of information that ten thousands words would not add up to it.
I wanted to jeopardize my own image. With my image I had already produced art pieces such as videos of photographs.
I am drawn to intimate, often uncomfortable portraits of a woman persevering and awakening.
Most photographs take their cues from advertising, where the priority is high image content for an easy Gestalt reading.
Sex is not a subject in my photographs, or would only be if it had to do with romance, sometimes vulnerability. The photographs are quite clearly about happiness, or search for happiness.
So long as people expect paintings to be simply coloured photographs they get no individuality and, in the case of portraits, no characterisation.
In recent years my understanding of God had evolved into increasingly remote abstractions. I'd come to think of God in terms like Divine Reality, the Absolute, or the One who holds us in being. I do believe that God is beyond any form and image, but it has grown clear to me that I need an image in order to relate. I need an image in order to carry on an intimate conversation with what is so vast, amorphous, mysterious, and holy that it becomes ungraspable. I mean, really, how to you become intimate with Divine Reality? Or the Absolute?
I always took photographs. I photographed a lot of trees, by the way, which is another image I used often in my work, the tree image.
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