For me the printing process is part of the magic of photography. It's that magic that can be exciting, disappointing, rewarding and frustrating all in the same few moments in the darkroom.
I don't think you can create luck. You're either lucky or you're not. I don't know if it's really luck or if it's just curiosity. I think the main ingredient, or a main ingredient for photography is curiosity. If you're curious enough and if you get up in the morning and go out and take pictures, you're likely to be more lucky than if you just stay at home.
You have to pick the right tool for the point you're trying to make and there is no one solution.
Photos represent primarily a seductive but deleterious short cut.
In portrait photography there is something more profound that we seek inside a person, while being painfully aware that a limitation of our medium is that the inside is recordable only insofar as it is apparent on the outside. . . Very often what lies behind the facade is rare and more wonderful than the subject knows or dares to believe.
My true program is summed up in one word: life. I expect to photograph anything suggested by that word which appeals to me.
We live in a society where we never prepare people to be a community.
The precision of hisskill places his work beyond the tentative and the experimental stage. He is continually searching and exploring both himself and his surroundings. and in this exploration of the realm of places, people and things, contrasts and relationships, Callahan is no respecter of conventional technical formula or code. His delicate sense of pattern is an integral part of his photography and not a thing by itself.
My main camera is a Nikon D3. I use a French camera from the 1800s for wet plate photography, I use a Hasselblad sometimes. But to me the camera really doesn't matter that much. I don't have a preference for film or digital.
Ultimately success or failure in photographing people depends on the photographer's ability to understand his fellow man.
Everybody's got to do something. . . I'd been on my own since an early age and I thought I better find something to do to buy biscuits and stuff. From high school onwards I was earning my way with photography, one way or another, working in darkrooms and taking pictures of weddings, neighbors' children and so on.
I like to think of photographing as a two-way act of respect. Respect for the medium, by letting it do what it does best, describe. And respect for the subject, by describing it as it is. A photograph must be responsible to both.
For me, photography is not a means by which to create beautiful art, but a unique way of encountering genuine reality
Just someone trying to shoot in 70mm deserves the nomination, and he[Quentin Tarantino] is shooting interiors, like tight interior shots, for that matter. Obviously [Quentin] is the director and demanding the shots, but all credit for the beauty of that film [Hateful Eight] goes to the director of photography.
As in any person's life, there have been difficult moments: I have a son with Down's syndrome; through my photography, I have witnessed all manner of human degradation. But there have also been very happy moments.
Becoming emancipated at 14, my life wasn't normal. I didn't have to go to school, so I didn't. I was rebellious by nature. I spent my 20s focusing on my company, Flower Films, and producing movies. Now that I'm almost 30, I would like to try other things in lie. I'm crazy about photography, and I want to take an art history class.
Street photography is art and if art is a crime, please God, forgive me.
If you let some time go by before considering work that you have done, you move toward a more objective position in judging it. The pleasure of the subjective, physical experience in the world is a more distant memory and less influential.
Once a photographer is convinced that the camera can lie and that, strictly speaking, the vast majority of photographs are camera lies, inasmuch as they tell only part of a story or tell it in distorted form, half the battle is won. Once he has conceded that photography is not a naturalistic medium of rendition and that striving for naturalism in a photograph is futile, he can turn his attention to using a camera to make more effective pictures.
What the Photograph reproduces to infinity has occurred only once: the Photograph mechanically repeats what could never be repeated existentially.