They [photographs] teach you about your own unraveling past, or about the immediacy of yesterday. They show you what you look at. If you take a photograph, you've been responsive to something, and you looked hard at it. Hard for a thousandth of a second, hard for ten minutes. But hard, nonetheless. And it's the quality of that bite that teaches you how connected you were to that thing, and where you stood in relation to it, then and now.
Interpretation
Photographs offer deep insights into our past and the present moment by capturing our attention and connection to the subjects.
This quote by Joel Meyerowitz emphasizes the profound role that photography plays in both recalling our past and engaging with our present. Photographs act as visual records that reveal how we perceived particular moments in time and highlight our emotional and cognitive responses to those moments. By observing and capturing images, we not only document what we see but also explore our personal connections to those scenes, fostering a deeper understanding of our experiences and perspectives over time.
In practice
In a photography exhibition, one could use this quote to convey the emotional significance of the displayed images.
I find it strangely beautiful that the camera with its inherent clarity of object and detail can produce images that in spite of themselves offer possibilities to be more than they are a photograph of nothing very important at all, nothing but an intuition, a response, a twitch from the photographer’s experience.
We think of photography as pictures. And it is. But I think of photography as ideas. And do the pictures sustain your ideas or are they just good pictures? I want to have an experience in the world that is a deepening experience, that makes me feel alive and awake and conscious.
Then I thought, Whoa. If there are no photographs, then there is no history. I'm going to get in there. I'm going to make these pictures. We need a record.
Photography is about being exquisitely present.
Photography is a response that has to do with the momentary recognition of things. Suddenly you're alive. A minute later there was nothing there. I just watched it evaporate. You look one moment and there's everything, next moment it's gone. Photography is very philosophical.
I photographed the entire thing in color because to photograph it in black and white would be to keep it as a tragedy. Because there is a tragic element to photographing, in this case not war, but the collapse. It was just destruction.
How can even the best novelist or playwright invent someone like Augustus Caesar or Catherine the Great, Galileo or Florence Nightingale? How can screenwriters create better action stories or human dramas than exist, thousand upon thousand, throughout the many centuries of recorded history?
If I had a talent, it was for looking askew at everything, possibly more than my contemporaries. But I had to really push myself to be a writer.
Tall ships and tall kings Three times three, What brought they from the foundered land Over the flowing sea? Seven stars and seven stones And one white tree. (The Two Towers)
Writing is not about making a buck, not about publishers and agents. Writing is not about feeling good. Writing is about pain, suffering, hard work, risk, and fear.
To play the trumpet, you must train your lips for a long time. When I was twelve or thirteen I was a good player, but I lost the skill and now I play very badly. I do it every day even so. The reason is that I want to return to my childhood. For me, the trumpet is evidence of the sort of young man I was.
Because each photograph is only a fragment, its moral and emotional weight depends on where it is inserted. A photograph changes according to the context in which it is seen: thus Smith's Minamata photographs will seem different on a contact sheet, in a gallery, in a political demonstration, in a police file, in a photographic magazine, in a book, on a living-room wall. Each o these situations suggest a different use for the photographs but none can secure their meaning.
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