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Photography Quotes

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Photography Quotes

“Literature especially has an interesting relationship to photography - to observation, to description, to fiction: taking something that you see and elaborating, jamming, and I think, staging.... taking that moment of observation and letting it go, giving it some wings, following it, rather than nailing it. You're riffing off of reality.”

“I am suspicious and disillusioned about the uses and misuses of photography in the art world, the press, and the world of entertainment. And to make things more complicated, I don't think that the general public is well educated regarding images. Generally we are taught how to read, but we are not taught how to look.”

“Modernism in a way, early modernism, for instance, in pictures, was turning against perspective and Europe. And all early modernism is actually from out of Europe, when you think of cubism is African, is looking at Africa, Matisse is looking at the arabesque, Oceania. Europe was the optical projection that had become photography, that had become film, that became television and it conquered the world.”

“I think what it was with the war photography was the concerned eye, the desire to document these situations to show the world the horrors of war. It inspired me to document prostitution; inspired me to document homelessness in America. We are the richest country in the world, yet we have people suffering, so it helped me to look at things in that manner.”

“It's shot by Ben Rayner who I think is very talented at doing portrait photography as well as fashion photography. His images never look like a model. You know, it doesn't look like a faceless model just wearing whatever. There's always personality that comes through. That was quite important for me to capture.”

“Basically, I thought for a very long time that making music and art projects, that that was just something that I did, and real life was separate. And I'm starting to realize that the things that I do, making music and art and photography and all that, it's not just something that I do. It's who I am. So I don't think I'll ever be able to stop. It's like that curse that you live with, this thing that you love but you also hate it at the same time. It brings you a lot of joy but also a lot of heartbreak.”

“When I was starting out, conceptual photography had become something that had to be amateur - like, that had to be black-and-white, or photocopied, or really not an object in order to be taken seriously. It had to work against technical mastery, and so on. So I think that my work is full of obstacles in the sense that it does look highly familiar and accessible. It does look like it's already "solved at first sight." It does look like it's part of a larger industry.”

“I think there's a general confusion that my work is about types of photography. But really that's just a tool to introduce some questions I have about seeing. What happens when all of these conditions and structures and histories and cultures and tools you have around you begin to fail? On the one hand there is an engagement with histories and cultures, and on the other, there is this very lonesome space of actually coming to terms with seeing.”

“I left film because I felt that photography was my art. It was something I could do on my own, whereas film was so collaborative. I thought as a photographer I could make something that was artistic and that was mine, and I liked that. And it wasn't until I got back into film and I have very small crews and I could do very tiny filmmaking that wasn't 100 people that I still felt that I was making something artistic as a filmmaker. So, you know, I'm an artist, and whether it's photography or film, I want my voice to be there and I think my voice is very strong in this film.”

“For me being able to see all different places where I've skied and cherish them, and be able to see them - really see them - is something that I'm passionate about. I'm into photography, so I really enjoy taking photos of all the places that I've gone. I think that's the coolest part about being an Olympic sportsman, I get to travel around and see the world for free, technically. And get to see different cultures, and all the different people that I've met along the way - it's a pretty awesome job.”

“I knew I liked art. I knew I liked photography. I remember seeing photos of Linda Evangelista in Italian Vogue as a teenager, and at the time I didn't know who she was. There were two photos - one shot by Fabrizio Ferri and another one by Steven Meisel. I didn't know who any of those people were. I think it was the first summer I was modeling, I saw these magazines sitting out and looked at them. I remember thinking, These are the kind of images I want to make.”

“I think photography is so hard. To be working in video and photography the past 20 years - because I was doing it in high school - you're dealing with mediums that change culture. The way they are distributed, disseminated - it's changed so dramatically. One of the things I always like to do is look at the structure of something and detach myself from the structure and figure out how to slightly alter it. So if the structure itself is constantly liquidated, it just really is difficult for me to really even know what to think of Instagram.”

“Photography really is all about lines, and so is clothing. I worked for Oberto Gili for a couple of years after I was at ICP; we worked in fashion, travel, interior design, everything. I was inspired by his styling choices within fashion photography, and I think those experiences helped steer me towards fashion design. I love photography as a medium, so I think I will always take inspiration from it.”

“Twitter scares me. I think it's so amazing, like the internet in general, because of the connection that it gives people. But the concept that one 140-word post can change someone's life . . . that scares me. You can literally ruin someone's life with one tweet. So I only do Instagram. I love photography . . . and interacting with the fans. I do love hearing from them. I try to answer questions if I can.”

“The magazine business is dying. It's a hard time for publishing. It does seem that everyone is much more opinionated now. I think there's probably more room for making opinionated illustrations. There was a time when Time magazine and Newsweek would have a realistic painted cover. A friend of mine used to do a lot of those paintings and he was told by the art director at one point, we are switching to photography. It seems that if someone saw a painting on a cover, it took a while to do, it must be old news. Photography became more immediate.”

“Press information is serious information, but press information is also manipulated by people who want you to think that this and that happened. So it's the old thing that you still cannot trust photography at all or you have to know who is distributing the photograph. In terms of cell phone photography, I think nobody cares about a photograph anymore because they're taking so many pictures just for fun.”