The artistry on the show [ Underground] is apparent in each episode. From the riveting writing to the purposeful and precise direction, the masterful work of the DP [Director of Photography] Kevin McKnight and his crew, and the layers and depths each actor goes to to ensure we the audience feel a human connection to these characters led me to sign my name on the dotted line.
"Do not call yourself an "artist-photographer" and make "artist-painters" and "artist-sculptors" laugh; call yourself a photographer and wait for artists to call you brother."
I often think we do not take this business of photography in a sufficiently serious spirit. Issuing a photograph is like marriage: you can only undo the mischief with infinite woe.
Art photography, although long since legitimized by all the conventional discourses of fine art, seems destined perpetually to recapitulate all the rituals of the arriviste. Inasmuch as one of those rituals consists of the establishment of suitable ancestry, a search for distinguished bloodlines, it inevitably happens that photographic history and criticism are more concern with notions of tradition and continuity than with those of rupture and change.
How aware were photographers in the past of other visual arts? "No photographer of any distinction at all could approach his work without some awareness of what was going on in other visual media, and for that matter neither the painter nor the draughtsman could ignore photography."
The recent extraordinary discovery in Photography, as applied in the operations of the mind, has reduced the art of novel-writing to the merest mechanical labour.
Taking photographs can assuage the itch for possession sparked by the beauty of a place; our anxiety over losing a precious scene can decline with every click of the shutter.
... the battle for the acceptance of photography as Art was not only counter-productive but counter-revolutionary. The most important photography is most emphatically not Art.
When van Gogh paints sunflowers, he reveals, or achieves, the vivid relation between himself, as man, and the sunflower, as sunflower, at that quick moment of time. His painting does not represent the sunflower itself. We shall never know what the sunflower itself is. And the camera will visualize the sunflower far more perfectly than van Gogh can.
That the outer man is a picture of the inner, and the face an expression and revelation of the whole character, is a presumption likely enough in itself, and therefore a safe one to go on; borne out as it is by the fact that people are always anxious to see anyone who has made himself famous. Photography offers the most complete satisfaction of our curiosity.
I've had photographs taken for portraits because I very much prefer working from the photographs than from models... I couldn't attempt to do a portrait from photographs of somebody I didn't know.