A Quote by W. Eugene Smith
I would that my photographs might be, not the coverage of a news event, but an indictment of war - the brutal corrupting viciousness of its doing to the minds and bodies of men; and, that my photographs might be a powerful emotional catalyst to the reasoning which would help this vile and criminal stupidity from beginning again.
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I would that my photographs might be, not the coverage of a news event, but an indictment of war.
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.
Just imagine if I would have come back to Germany with a victory. I had nothing to do with the Nazis, but they would have given me a medal. After the war I might have been considered a war criminal.
I started to concentrate more upon how the viewer looks at photographs... I would insert my own text or my own specific reading of the image to give the viewer something they might not interpret or surmise, due to their educated way of looking at images, and reading them for their emotional, psychological, and/or sociological values. So I would start to interject these things that the photograph would not speak of and that I felt needed to be revealed, but that couldn't be revealed from just looking at an image.
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.
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'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.
I have a rule that I don't review shows from photographs or from video. I certainly might go back and look at photographs and look at video to remind myself of something or for personal information. But I never review from that.
Looking back, I'm almost happy I lost that fight. Just imagine if I would have come back to Germany with a victory. I had nothing to do with the Nazis, but they would have given me a medal. After the war I might have been considered a war criminal.
I don't think I would have been a good architect. Really, I have thought about this from time to time, and I might have wound up like my father, who never did find that which he could devote his life to. He sort of drifted from job to job. He was a traveling salesman, he was a bookkeeper, he was an office manager, he was here, there, there. And however enthusiastic he was at the beginning, his job would bore him. If I hadn't had the writing, I think I might have replicated what he was doing, which would not have been good.
It wasn't until I realised that I could actually take nice photographs that I started to become passionate about it. I then got a few jobs working for magazines in London, and I would get terribly excited and intense about doing a job and taking photographs and looking through the lens to capture something amazing.
There was as big a reaction after the revelations about Assad's chemical weapons. Nevertheless, that photograph did strike a singular chord. Which leads us to a larger fact: we don't understand why certain photographs create such an upheaval in one's soul. You look at them and go, "Oh my gosh." And that doesn't happen with television. It's unique to photography. Photographs are unique in that they are a frame abstracted out of reality, out of, in this case, a civil war. A single event can carry so much weight. And that is extraordinary.
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.
The Iraq War marked the beginning of the end of network news coverage. Viewers saw the juxtaposition of the embedded correspondents reporting the war as it was actually unfolding and the jaundiced, biased, negative coverage of these same events in the network newsrooms.
The inferiority of photographs to the best works of artists, so far as resemblance is concerned, lies in their catching no more than a single expression. If many photographs of a person were taken at different times, perhaps even years apart, their composite would possess that in which a single photograph is deficient.
Everything that civilisation has to offer is a product of human intelligence; we cannot predict what we might achieve when this intelligence is magnified by the tools that AI may provide, but the eradication of war, disease, and poverty would be high on anyone's list. Success in creating AI would be the biggest event in human history. Unfortunately, it might also be the last.
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