I can’t stand these damn shows on museum walls with neat little frames, where you look at the images as if they were pieces of art. I want them to be pieces of life!
W. Eugene SmithRead
Up to and including the moment of exposure, the photographer is working in an undeniably subjective way. By his choice of technical approach, by the selection of the subject matterand by his decision as to the exact cinematic instant of exposure, he is blending the variables of interpretation into an emotional whole.
Interpretation
Photography is an artistic interpretation shaped by personal choices and emotional insights.
This quote emphasizes the subjective nature of photography, highlighting how a photographer's decisions—ranging from technical aspects to subject selection—contribute to the emotional impact of the final image. It suggests that every photograph is not just a capture of reality but a blend of personal interpretation and emotion, where every choice made by the photographer influences how the viewer perceives the image.
In practice
During a photography class when discussing creative techniques.
I can’t stand these damn shows on museum walls with neat little frames, where you look at the images as if they were pieces of art. I want them to be pieces of life!
I've never made any picture, good or bad, without paying for it in emotional turmoil.
Most photographers seem to operate with a pane of glass between themselves and their subjects. They just can't get inside and know the subject.
I try to take what voice I have and I give it to those who don’t have one at all.
The photographer must bear the responsibility for his work and its effect …[for] photographic journalism, because of its tremendous audience reached by publications using it, has more influence on public thinking than any other branch of photography.
Many claim I am a photographer of tragedy. In the greater sense I am not, for though I often photograph where the tragic emotion is present, the result is almost invariably affirmative.
They've tried to manufacture other Marilyn Monroes and they will undoubtedly keep trying. But it won't work. She was an original.
As creators, our pursuit of perfection might be misguided, particularly if it comes at the expense of the things that matter.
The public needs art, and it is the responsibility of a ’self-proclaimed artist’ to realize the public needs art, and not to make bourgeois art for the few and ignore the masses. … I am interested in making art to be experienced and explored by as many individuals as possible with as many different individual ideas about the given piece with no final meaning attached. The viewer creates the reality, the meaning, the conception of the piece. I am merely a middleman trying to bring ideas together.
The pages are still blank, but there is a miraculous feeling of the words being there, written in invisible ink and clamoring to become visible.
You can take things that Jimi Hendrix took, from Curtis Mayfield or from Buddy Guy for example, because we are all children of everything, even Picasso. But if you want to stand out, you have to learn to crystallize your existence and create your own fingerprints.
Not for a moment, beautiful aged Walt Whitman, have I failed to see your beard full of butterflies.
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