The traditional difficulty of balancing the mechanical with the imaginative schools of photography still operates. In schools of photography meaningful art education is often lacking and on the strength of their technical ability alone students, deprived of a richer artistic training, are sent forth inculcated with the belief that they are creative photographers and artists. It is yet a fact that today, as in the past, the most inspiring and provocative works in photography come as much (and probably more) from those who are in the first place artists.
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.
I love photography. Photographers and photos. I took a ton of pictures in Paris, and I find that I'm most inspired by following other photographers on Instagram.
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.
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.
Photography concentrates one's eye on the superficial. For that reason it obscures the hidden life which glimmers through the outlines of things like a play of light and shade. One can't catch that even with the sharpest lens.
... 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.
If we examine a work of ordinary art, by means of a powerful microscope, all traces of resemblance to nature will disappear - but the closest scrutiny of the photogenic drawing discloses only a more absolute truth, a more perfect identity of aspect with the thing represented.
I was attracted to photography because it was technical, full of gadgets, and I was obsessed with science. But at some point around fifteen or sixteen, I had a sense that photography could provide a bridge from the world of science to the world of art, or image. Photography was a means of crossing into a new place I didn't know.
"Though many painters and sculptors talk glibly of "going in for photography," you will find that very few of them can ever make a picture by photography; they lack the science, technical knowledge, and above all the practice. Most people think they can play tennis, shoot, write novels, and photograph as well as any other person - until they try."
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.
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.
Jesus would have been one of the best photographers that ever existed. He was always looking at the beauty of people souls. In fact Jesus was constantly making pictures of God in people's life by looking at their souls and exposing them to his light.