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.
My work is about seeing - seeing things like they haven't been seen before.
Because I direct films, I have to live in a major English-speaking production center. That narrows it down to three places: Los Angeles, New York and London. I like New York, but it's inferior to London as a production center. Hollywood is best, but I don't like living there.
My strength is looking for composition and light, and I think those things come in the quieter times of war or photographing people affected on the margins of war - civilians, refugees; that is where I really excel.
The human bird shall take his first flight, filling the world with amazement, all writings with his fame, and bringing eternal glory to the nest whence he sprang.
Here's the thing with me and the religious thing. This is the flat-out truth: I find the religiosity and philosophy in the music. I don't find it anywhere else.
When I'm in certain moods, a conversation will start up in my head, and suddenly I'll realize that the language has reached a very high and interesting level, and then lines and stanzas will just kind of appear, full-blown.
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