A Quote by David Alan Harvey

In the spirit of Vivian Maier, who worked unaided by any publication or commercial shooting, I set up the Emerging Photographer Fund — © David Alan Harvey
In the spirit of Vivian Maier, who worked unaided by any publication or commercial shooting, I set up the Emerging Photographer Fund
When I was starting, I was very much influenced by the straight up, eyes to camera style of August Sander. He is really the only one. Had I known then the work of people like Ken Russell, Vivian Maier, Helen Levitt, and Steven Berkoff, they would undoubtedly have influenced me too.
I'm a portrait photographer that's used to shooting celebrities, and I usually need time and all kinds of lights and a studio to set up my shots.
When the novice photographer starts taking pictures, he carries his camera about and shoots everything that interests him. There comes a time when he must crystallize his ideas and set off in an particular direction. He must learn that shooting for the sake of shooting is dull and unprofitable.
I came up, I suppose, a fairly traditional way. I went to art college. I always wanted to be a stills photographer, really, when I was younger, and I briefly worked as a stills photographer.
I worked for a breakfast catering company on commercial shoots, which meant getting up at 3 or 4 A.M. and loading up your car with a bunch of food and driving out to some set in Santa Clarita and making breakfast for a bunch of people.
I've never not been sure that I was a photographer any more than you would not be sure you were yourself. I was a photographer, or wanting to be a photographer, or beginning - but some phase of photographer I've always been.
In our day heaven and earth are on tiptoe waiting for the emerging of the Spirit-led, Spirit-intoxicaed, Spirit-empowered peole. All of creation watches expectantly for the springing up of a disciplined, freely gathered, martyr people who know in this likfe the life and power of the Kindgom of God. It happened before, it can happen again.
The experience that a publication creates for its audience is the very essence of that publication's brand - and without deep engagement, that publication's brand will be weak. A good publication is a convener and an arbiter - it expresses a core narrative that becomes a badge of sorts for its readership.
The creative life of the commercial photographer is like the life of a butterfly. Very seldom do we see a photographer who is really productive for more than eight or ten years.
A photograph records both the thing in front of the camera and the conditions of its making... A photograph is also a document of the state of mind of the photographer. And if you were to extend the idea of the set-up photograph beyond just physically setting up the picture, I would argue that the photographer wills the picture into being.
I dislike the word 'emerging artist.' Emerging connotes to me an alligator coming up from the water. I consider all artists to be artists, not rising, emerging, amateur, beginning, but the real thing.
The minute a man stops supplicating God for His Spirit and direction, just so soon he starts out to become a stranger to Him and His works. When men stop praying for God's Spirit, they place confidence in their own unaided reason, and they gradually lose the Spirit of God.
I wake up every morning bolt upright, whether it's a commercial, not that that's a good thing or a bad thing, because I shoot commercials in between movies. But whether it's a commercial or a movie where I'm shooting a major train wreck, the thing that worries me most is when I'm doing a performance thing.
I'd say any good set or any comedy that I've worked on, that's worked, has been comedians pitching ideas back and forth to each other. A lot of like, 'What if you say this? What about this?'
Technically perfect, pictorially rotten. (Stieglitz's standard comment on photographs he rejected for publication in The American Amateur Photographer.)
If I'm on set and I'm in character, I'm not thinking like a producer. If I'm on set and I'm not in character, wardrobe and make-up, and I'm just coming on set for the moments that I'm not shooting, then I'm able to be the producer.
This site uses cookies to ensure you get the best experience. More info...
Got it!