Beaumont Newhall Quotes
If the historian will be faithful to the photograph, the photograph will be faithful to history.
Quotes to Explore
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I'm not faithful to one particular medium, and it's what I try to teach to people who work with me.
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Even today I work with Niall O'Brien, who is far more technically astute than I am, but I still have the clearest idea of every detail I want in my photograph.
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Mostly, I worked so quickly, I didn't see the details of a photograph until it was printed.
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Translation is like a woman. If it is beautiful, it is not faithful. If it is faithful, it is most certainly not beautiful.
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I hate having my photograph taken.
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Having Buzz there is a great achievement, he was on the first moon landing alongside Neil Armstrong, so getting his signature on a beautiful panoramic photograph will be an historical item to treasure.
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I photograph what interests me. I'm not saying anything different.
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Every photograph is a battle of form versus content.
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I photograph to see what the world looks like in photographs.
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In the end, maybe the correct language would be how the fact of putting four edges around a collection of information or facts transforms it. A photograph is not what was photographed, it's something else.
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A photograph can look any way.
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I said the photograph isn't what was photographed, it's something else. It's about transformation. And that's what it is.
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There is no special way a photograph should look.
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My intention is to make interesting photographs. That's it, in the end. I don't make it up. Let's say it's a world I never made. That's what was there to deal with.
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If you run into a monkey in some idiot context, automatically you've got a very real problem taking place in the photograph.
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A pun calls the meaning of a word into question, and it upsets us tremendously. We laugh because suddenly we find out we're not going to get killed. I think a lot of things work that way with photographs.
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I know what I like to use myself. I use Leicas, but when I look at the photograph, I don't ask the photograph questions. Mine or anybody else's. The only time I've ever dealt with that kind of thing is when I'm teaching.
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I never saw a pyramid, but I've seen photographs; I know what a pyramid or a sphinx looks like. There are pictures that do that, but they satisfy a different kind of interest.
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Well, in terms of what a camera does. Again, you go back to that original idea that what you photograph is responsible for how it [the photograph] looks. And it's not plastic, in a way. The problem is unique in photographic terms.
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A photograph is worth a thousand words, provided it is accompanied by only ten words.
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I have a way to photograph. You work with space, you have a camera, you have a frame, and then a fraction of a second. It's very instinctive. What you do is a fraction of a second, it's there and it's not there. But in this fraction of a second comes your past, comes your future, comes your relation with people, comes your ideology, comes your hate, comes your love - all together in this fraction of a second, it materializes there.
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Grigsby's marvelous exploration-a deep, wide, and beautiful inquiry into Sojourner Truth's use of technology-features more of her photographs than have ever been collected before. Among its many insights, I especially relished the analysis of Truth's illiteracy. Enduring Truths is art history with a wide-ranging concept of history left in. A terrific book, and one we've needed for a long time.
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Working memory capacity is really the ability to hold and manipulate information while you're actively trying to block out distraction.
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If the historian will be faithful to the photograph, the photograph will be faithful to history.
