A Quote by Vilem Flusser
With every (informative) photograph, the photographic program becomes poorer by one possibility while the photographic universe becomes richer by one realization.
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To see something spectacular and recognise it as a photographic possibility is not making a very big leap. But to see something ordinary, something you’d see every day, and recognize it as a photographic possibility - that is what I am interested in.
While the human gaze becomes more and more fixed, losing some of its natural speed and sensitivity, photographic shots, on the contrary, become even faster.
My father was famous for his photographic memory. He was in the OSS. They trained him to be captured on purpose and to read upside down and backwards and commit to memory every document in Germany he saw as he was being interrogated - every schedule on every wall. So, that photographic memory somehow made its way to me when I was young.
This is a photograph, so it is as you see: there are no lies and no deceptions. One can detect here, elevated to an incomparably higher level, the same pathetic emotional appeal that lies concealed in every fake spiritualist photograph, every pornographic photograph; one comes to suspect that the strange, disturbing emotional appeal of the photographic art consists solely in that same repeated refrain: this is a true ghost... this is a photograph, so it is as you see: there are no lies, no deceptions.
The problem is almost everybody is just recording the world with home photographic toys, not doing metaphor or ideas. We have a photographic culture that's not conditioned to think in terms of symbol.
A photograph is a meeting place where the interests of the photographer, the photographed, the viewer and those who are using the photograph are often contradictory. These contradictions both hide and increase the natural ambiguity of the photographic image.
There is no photograph more inherently photographic than another.
In spite of recent trends towards fabricating photographic narratives, I find, more than ever, traditional photographic capture, the 'discovery' of found narratives, deeply compelling.
I think women's bodies are a battleground and photography is partly to blame. Our society is so photographic now, it becomes more difficult to see all of those different varieties of shape.
Well, in terms of what a camera does. Again, you go back to that original idea that what you photograph is responsible for how it [the photograph] looks. And it's not plastic, in a way. The problem is unique in photographic terms.
The Law of Divine Compensation posits that this is a self-organizing and self-correcting universe: the embryo becomes a baby, the bud becomes a blossom, the acorn becomes an oak tree. Clearly, there is some invisible force that is moving every aspect of reality to its next best expression.
If it were possible for any one person or group of persons to go through a photographic finishing plant's work at the end of a day, you could probably pull out the most extraordinary photographic exhibition we've ever seen. On almost any subject. The trouble is to find the things.
People promise to stick with their spouse 'for richer or poorer' but it's the 'for poorer' part that causes the worry. The big shock is that the 'for richer' bit can also cause problems.
Photographic data... is still and ESSENTIALLY THE SAFEST POETIC MEDIUM and the most agile process for catching the most delicate osmoses which exist between reality and surreality. The mere fact of photographic transposition means a total invention: the capture of a secret reality.
Life becomes harder for us when we live for others, but it also becomes richer and happier.
A photographic portrait is a picture of someone who knows he is being photographed, and what he does with this knowledge is as much a part of the photograph as what he's wearing or how he looks.
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