“I’ve never understood why people describe my work as romantic, because I don’t romanticize the world. If you could turn back time and look at a place as it was when I photographed it, I think the picture and the place would look pretty much the same. I’ve never felt the need to enhance the world in my pictures, because the world is spectacular enough as it is.”—William Eggleston Talks… - NOWNESS
I’m intrigued by the fact that you would often use expired color film for its unpredictable effects. With digital imagery, some of the spontaneity and surprise seems to have gone out of photography. Your feelings?
I don’t need to belittle the work of present day photography. I see quite often things that I like and admire. I do digital photography myself. Certain people of my generation decided that the past was better than the present. I am not sure that that is true. I don’t want to be one of those people that says the world has come to an end.
“I don’t have a philosophy. I have a camera. I look into the camera and take pictures. My photographs are the tiniest part of what I see that could be photographed. They are fragments of endless possibilities.”—Saul Leiter, interview in PHOTOGRAPHERS SPEAK. (via greatleapsideways)
“The last couple of years have seemed to show that there might be no real need of photographs anymore, but a growing need for videos – we have witnessed a shift from the paper format to an online format. Online publishers need videos, not photographs; if you add this very big problem to the fact that contemporary art spaces and fairs are more and more willing to show photographs, then you can imagine that the photo crowd will deal more and more with left-over photographers, Sunday photographers. I don’t know a single photo-student from the Netherlands who wants to be in a photography gallery, they only want to be in art galleries… slowly photography is becoming a 20th century thing.”—Hippolyte Bayard: Yannick Bouillis - On self-publishing
“I say this in light of a recent trip to MoMA’s Abstract Expressionist New York show, during which huge throngs of people were photographing the work, often while barely looking at it. Presumably those pictures would all soon be shared on Flickr and Facebook. There are a lot of warm, fuzzy reasons for sharing, but the most powerful may well be as a means of impressing upon others the value of our own experience. As my MoMA visit and countless other experiences demonstrate though, it’s a shame that we now often sacrifice the value of the experience itself in exchange for its transmission.”—You’re Over-Sharing | Art Fag City | The L Magazine - New York City’s Local Event and Arts & Culture Guide
“There are two main differences between built-in flash and no-flash pictures. The first is the fuzziness in the background of the no-flash photos, which removes distraction and places attention on the human subject. (It also tends to make the everyday mess of kitchens and living rooms disappear, which is particularly advantageous for home photographers who don’t have time to design—or clean up—their backgrounds.) This fuzzy look is much sought-after by professionals, who will sometimes spend quite a lot of money to get it.”—
“Thinking about the online world of emerging photographers makes me wonder how much value we put into blog features, favorites, tumblr followers and our beloved self-published zines. Are we setting ourselves up for false hope? Or are we settling in to our new definition of success. I’m not sure, but I do wonder if all of us kids will be alright.”—OpEd: Are The Kids Still Alright? | la pura vida (via alexjdsmith)
“I prefer to have some sort of narrative to begin a project and the text that accompanies each body of work has become more and more important to me over the past few years. The text gives the viewer a small amount of insight into why I made the work. I feel if there is no meaning behind the image, it is then just a pretty picture.”—ALL OF THIS IS ROCKET SCIENCE - GLEN ERLER, 48, LONDON
“Be postmodern. Borrow from any time period and any predecessor, then build on them to create your own vision. You needn’t use modern tools but whatever you use should be so routine you don’t have to think about it.”—B: Four rules
“Zed Nelson: ‘I began this project in the summer of 1991. The wife of a friend was nine months pregnant, and I had an idea – based on time-lapse photography – to photograph them together as a couple, then soon after the birth, and then on the same day every year. I planned the photography sessions in a formal, almost scientific way. Each year the picture was made on the same date, against the same backdrop, under the same lighting. Now, nearly 20 years into the project it is beginning to get really interesting. While a boy grows before your very eyes, his parents change in more subtle ways. The body language fascinates me, between the growing boy and his parents. At first the son stays close to his mother, then he gains independence, and then increasingly bonds with and even mimics his father. These aren’t quirks of the photographic moment, but cycles of the aging process, clearly played out in the contact sheets.”—Once there was a boy… | Art and design | The Guardian
Q. What advice can you give us nongeniuses to help us be more creative?
Take risks, and expect to make lots of mistakes, because creativity is a numbers game. Work hard, and take frequent breaks, but stay with it over time. Do what you love, because creative breakthroughs take years of hard work. Develop a network of colleagues, and schedule time for freewheeling, unstructured discussions. Most of all, forget those romantic myths that creativity is all about being artsy and gifted and not about hard work. They discourage us because we’re waiting for that one full-blown moment of inspiration.
“Rarity is essential and it is something that photography does not naturally have,” says Boloten. “You can print thousands of the things and a collector will ask: ‘Why am I paying a lot of money for a print when Picasso only painted one of each?’”—FT.com / FT Magazine - How Annie got shot
“Yet Petty does not intend to acquire a Leibovitz. Not one of the 10 “master sets” of 157 of her prints that have been offered privately at an asking price of more than $3m per set; not even a single photo. “No,” he says firmly. “I nearly bought her portrait of the Queen but then I decided against it. She is obviously well-regarded but it is a distinctively American taste, her style of photography.””—FT.com / FT Magazine - How Annie got shot
“Usually it’s something fleeting or ephemeral that causes me to get my camera out, an atmospheric change, leaves scuttling across the street on the first real day of fall, an unexpected light rain during an otherwise perfect day. Or, sometimes I just feel like visiting an old block that I used to live on and all I want to do is revisit a previous time and place I once occupied. Or I saw a great movie the night before that had a noir-ish feel, or a really strong exhibition. Sometimes there’ll a big story in the news such as Hurricane Katrina, a presidential election, or the Ground Zero Mosque and I get into a mood for photographing rallies, protests, activism, etc. Washington Square Park and Union Square Park are really good for these kinds of things.”—Interview with Cary Conover | Street Reverb Magazine