A Quote by William Albert Allard
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.
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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.
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.
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.
Since 1970, I've been using text and ephemera as well as photographs in order to tell stories of one kind or another. There's a thread that runs through all the work that is to do with bearing witness. The photographs are about asking questions, though, not answering them.
It is a nostalgic time right now, and photographs actively promote nostalgia. Photography is an elegiac art, a twilight art. Most subjects photographed are, just by virtue of being photographed, touched with pathos. ... All photographs are memento mori. To take photograph is to participate in another person's mortality, vulnerability, mutability. Precisely by slicing out this moment and freezing it, all photographs testify to time's relentless melt
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.
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.
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.
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?
I believe that photography can only reproduce the surface of things. The same applies to a portrait. I take photographs of people the same way I would take photographs of a plaster bust.
Saudi Arabia is so conservative. At first there were photographs of women I took that I couldn't publish - of women without their abayas. So I started writing out little anecdotes about things I couldn't photograph and wove it in with a more obscure picture and called it "moments that got away". I realised these worked as well as the photographs by themselves. There are a lot of photographers who feel the story is all in the photographs but I really believe in weaving in complementary words with the pictures.
Though infested with many bewildering anomalies, photographs are considered our best arbiters between our visual perceptions and the memory of them. It is not only their apparent 'objectivity' that grants photographs their high status in this regard, but our belief that in them, fugitive sensation has been laid to rest.
They [photographs] teach you about your own unraveling past, or about the immediacy of yesterday. They show you what you look at. If you take a photograph, you've been responsive to something, and you looked hard at it. Hard for a thousandth of a second, hard for ten minutes. But hard, nonetheless. And it's the quality of that bite that teaches you how connected you were to that thing, and where you stood in relation to it, then and now.
I began to realize that photographs, these still images, have a tremendous power to move your soul. They can change your life by what you choose to get out of them, and I started to collect photographs.
The photographs that excite me are photographs that say something in a new manner; not for the sake of being different but ones that are different because the individual is different and the individual expresses himself.
One has the impression that something is stirring inside [photographs] - it is as if one can hear little cries of despair, gémissements de désespoir... as if the photographs themselves had a memory and were remembering us and how we, the surviving, and those who preceded us, once were.
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