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.
There is only one true thing: instantly paint what you see. When you've got it, you've got it. When you haven't, you begin again. All the rest is humbug.
Asymmetric balance creates greater reader interest. Pleasure derived from observing asymmetrical arrangements lies partly in overcoming resistances, which, consciously or not, the spectator adjusts in his own mind.
People expect things from art that are horrible for us who make it! They put the things we make in these restrictive places called 'museums,' then don't want to hear another word from us.
Sometimes what we call tragedy, at least in the theater, are really case histories. They're based on the central figure, and things happen to that person, and they're called tragedy because they're extremely sad. But tragedy always has a glorious thing happen at the end of it. That's what the catharsis is.
What I love so much about drag is that it has politics at its very core; drag performers aren't afraid to talk about politics in our community and the changes we need to see systemically in society.
People say to me, 'You seem to have made this conscious decision to do independent films'. In reality, I haven't. After each movie, I always think, 'how different can I possibly be? Is this going to challenge me, is this going to inspire me, and is this going to make me love my job more than I already do?'
Subscribe for the occasional hand-picked quote. No noise.