A Quote by Nick Cave

Some people, myself in particular, have an adversarial relationship with the camera, and it sprouts up in every photograph. — © Nick Cave
Some people, myself in particular, have an adversarial relationship with the camera, and it sprouts up in every photograph.
Self-acceptance is my refusal to be in an adversarial relationship to myself.
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.
Photographs bear witness to a human choice being exercised in a given situation. A photograph is a result of the photographer's decision that it is worth recording that this particular event or this particular object has been seen. If everything that existed were continually being photographed, every photograph would become meaningless.
If you want to get really crazy, Brussels sprouts love cured pork. Crisp up some bacon, pancetta, or chorizo in a skillet; save the crisp bits; use the fat to roast the sprouts; then toss them together with the meat when they come out of the oven.
Composition in photography is almost as varied as composition in music or words -- melodic or atonal, safe or daring -- and can enhance subject, theme, and style. Every photograph you take involves you in some compositional decision, even if this is simply where to set up the camera or when to press the button.
... I'm sort of a nervous person with the camera, so I will just shoot arbitrarily until I can focus and compose something, and then I make a shot. So generally, in [the] proof sheets, there are only three or four really concentrated efforts to take a photograph. It's not like a professional kind of person who sets it up so every photograph looks really cool.
When I began to photograph nudes, I let myself be guided by this camera, and instead of photographing what I saw, I photographed what the camera was seeing. I interfered very little, and the lens produced anatomical images and shapes which my eyes had never observed.
The camera is one of the most frightening of modern weapons, particularly to people who have been in warfare, who have been bombed and shelled for at the back of a bombing run is invariably a photograph. In the back of ruined towns, and cities, and factories, there is aerial mapping, or spy mapping, usually with a camera. Therefore the camera is a feared instrument, and a man with a camera is suspected and watched wherever he goes... In the minds of most people today the camera is the forerunner of destruction, and it is suspected, and rightly so.
Every photograph is a realization of one of the possibilities contained within the program of the camera. The number of such possibilities is large, but it is nevertheless finite. It is the sum of all those photographs that can be taken by a camera.
Every photograph is the result of a physical imprint transferred by light reflections onto a sensitive surface. The photograph is thus a type of icon, or visual likeness, which bears an indexical relationship to its object.
What if I said that every photograph I made was set up? From the photograph, you can't prove otherwise. You don't know anything from the photograph about how it was made, really.
I always considered, with every shoot, I was on trial; every time I pick up my camera and start out on the relationship, I am at degree zero. There is no coasting.
Every photograph that is made whether by one who considers himself a professional, or by the tourist who points his snapshot camera and pushes a button, is a response to the exterior world, to something perceived outside himself by the person who operates the camera.
There is no law that guarantees press access to the White House. Communication was lessening during the Obama years. There was every reason to suspect that Trump was going to create an adversarial relationship and that people were going to be faced with the impossible dilemma between sort-of-complicity and access.
It's possible for me to imagine a generation of people maybe two generations removed from you who might decide that we have an adversarial relationship with technology.
Some people are writers and don't ever want to be on camera, some people act and not write - I like writing words for myself to say.
This site uses cookies to ensure you get the best experience. More info...
Got it!