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Subjects Quotes

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Subjects Quotes

“All of those broken bones in northern Japan, all of those broken lives and those broken homes prompt us to remember what in calmer times we are invariably minded to forget: the most stern and chilling of mantras, which holds, quite simply, that mankind inhabits this earth subject to geological consent - which can be withdrawn at any time.”

“When we see our enemies and friends gliding away before us, let us not forget that we are subject to the general law of mortality, and shall soon be where our doom will be fixed forever.”

“I have no admiration for culture. I have no reserve knowledge, no provisional knowledge. And everything that I learn, I learn for a particular task, and once it's done, I immediately forget it, so that if ten years later, I have to get involved with something close to or directly within the same subject, I would have to start again from zero, with some few exceptions.”

“The very fact that faith looks to a power beyond itself means that it is continually subject to loss of control. So if you're looking to get control of all your problems, forget Christianity. If you're looking for success, happiness, or freedom from pain, forget Christ. The way of Christ is the cross, and the cross spells weakness, poverty, failure, death.”

“If a subject has a delicate surface to it, you do not want to go charging in there. You need to establish some kind of presence and understanding. I will say, Try to forget I'm here. I won't ask you to pose, I won't ask you to do anything. It's important that I just be allowed to be around, to be present. Photographing people requires a willingness to be rejected. So, I think the best approach is to be honest and direct. Very often, I tell them, You don't know me. There's no reason why you should trust me... the only thing I can promise is that I'll try to do the most honest work I can.”

“I always try to create equal power between the subject and the object, so as not to end up creating a relationship where the camera is here and the object out there. This is for me a very difficult and sensitive balance. When I produce a work, cut and frame images, I realize that spectators can identify with the images and almost forget that someone else actually made them. This would be the optimal situation. I don't know whether I succeed in doing so, but that's what I would like to have happen.”