There's something arbitrary about taking a picture. So I can stand at the edge of a highway and take one step forward and it can be a natural landscape untouched by man and I can take one step back and include a guardrail and change the meaning of the picture radically... I can take a picture of a person at one moment and make them look contemplative and photograph them two seconds later and make them look frivolous.
Interpretation
Photography can drastically alter perception based on perspective and timing.
In this quote, Stephen Shore emphasizes the subjective nature of photography and how a single moment can convey different interpretations based on composition and context. The act of taking a picture is influenced by the photographer's choices, which can create radically different meanings depending on how the scene is framed.
In practice
During an art class, one might use this quote to initiate a discussion on the impact of perspective in photography.
I meet young artists and it becomes clear that with some the main motivation is getting a show in Chelsea. It strikes me that this is very different to the way it was for me, which was that I wanted to understand photography and the world and myself.
To see something spectacular and recognise it as a photographic possibility is not making a very big leap. But to see something ordinary, something you’d see every day, and recognize it as a photographic possibility - that is what I am interested in.
This idea of imposing an order is very interesting to me. Photography is in essence an analytic medium. … In photography, you start with the whole world and every decision you make imposes an order on it. The question is to what extent it’s an idealized order I’m imposing or is it an order that grows out of what the world looks like.
Photographers have to impose order, bring structure to what they photograph. It is inevitable. A photograph without structure is like a sentence without grammar-it is incomprehensible, even inconceivable.
I wanted to make pictures that felt natural, that felt like seeing, that didn’t feel like taking something in the world and making a piece of art out of it.
A photograph has edges the world does not.
Poetry and progress are like two ambitious men who hate one another with an instinctive hatred, and when they meet upon the same road, one of them has to give place.
I was going to go to a four-year college and be an anthropologist or to an art school and be an illustrator when a friend convinced me to learn photography at the University of Southern California. Little did I know it was a school that taught you how to make movies! It had never occurred to me that I'd ever have any interest in filmmaking.
I don't often go to curator or artist walk-throughs of exhibitions. For a critic, it feels like cheating. I want to see shows with my own eyes, making my own mistakes, viewing exhibitions the way most of their audience sees them.
Camera lies all the time. It’s all it does is lie, because when you choose this moment instead of this moment, when you… the moment you’ve made a choice, you’re lying about something larger. Lying is an ugly word. I don’t mean lying. But any artist picks and chooses what they want to paint or write about or say. Photographers are the same.
Don't write about Man; write about a man.
I have written a great many stories and I still don't know how to go about it except to write it and take my chances.
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