A Quote by Walead Beshty

There is no photograph more inherently photographic than another. — © Walead Beshty
There is no photograph more inherently photographic than another.
One of the magical things about photography is the transformation that takes place when you photograph something. Something that inherently has very little going for it in terms of the interest you take in it, can become infinitely more interesting when rendered as a photograph. It's no longer a building. It's a photograph.
With every (informative) photograph, the photographic program becomes poorer by one possibility while the photographic universe becomes richer by one realization.
While a painting, even one that meets photographic standards of resemblance, is never more than the stating of an interpretation, a photograph is never less than the registering of an emanation (light waves reflected by objects) — a material vestige of its subject in a way that no painting can be.
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.
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.
In spite of recent trends towards fabricating photographic narratives, I find, more than ever, traditional photographic capture, the 'discovery' of found narratives, deeply compelling.
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 novel is inherently a political instrument, regardless of its subject. It invites you - more than invites you, induces you - to live inside another person's skin. It creates empathy. And that's the antidote to bigotry. The novel doesn't just tell you about another life, which is what a newspaper would do. It makes you live another life, inhabit another perspective. And that's very important.
One day the photograph is going to become even more important than it is now.... But I am not particularly an advocate of the photograph.
The photograph is always more interesting than what the photograph is of.
I find that my entire life has come to me, and things happened without me planning them. You know, I never asked to photograph Princess Diana, and that made me more famous than I wanted. I never asked to photograph Madonna, and that pushed me to another level. There are things that just take you into the limelight.
Any photograph has multiple meanings: indeed, to see something in the form of a photograph is to encounter a potential object of fascination. The ultimate wisdom of the photographic image is to say: “There is the surface. Now think – or rather feel, intuit – what is beyond it, what the reality must be like if it looks this way.’ Photographs, which cannot themselves explain anything, are inexhaustible invitations to deduction, speculation, and fantasy
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.
Because each photograph is only a fragment, its moral and emotional weight depends on where it is inserted. A photograph changes according to the context in which it is seen: thus Smith's Minamata photographs will seem different on a contact sheet, in a gallery, in a political demonstration, in a police file, in a photographic magazine, in a book, on a living-room wall. Each o these situations suggest a different use for the photographs but none can secure their meaning.
Paintings invariably sum up; photographs usually do not. Photographic images are pieces of evidence in an ongoing biography or history. And one photograph, unlike one painting, implies that there will be others.
As each one of us awakens, it is like a light going on, followed by another light, another light, and another light. The darkness of human unconsciousness is slowly, gradually and gently lit, until there comes a day when there is more light than dark, more consciousness than unconsciousness , more joy than pain, ...more truth than illusion. That would indeed be a day for celebration.
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