Art Wolfe Quotes
Quotes to Explore
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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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I was invited to photograph Hollywood. They asked me what I would like to photograph. I said, Ugly men.
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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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I hate having my photograph taken.
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The physical thing of having a man following you around all day trying to take your photograph - it's eerie. There is a pure physical response. If you go up and kick a dog, it will bite you. But with photographers, you can't do that.
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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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People put barriers up in your path, and one of those barriers is age. They tell you, "You're too old. You don't photograph so well anymore." I know I don't photograph so well anymore, so what can I do? I can do something different, where it doesn't matter as much how I look.
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The same camera that photographs a murder scene can photograph a beautiful society affair at a big hotel.
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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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For me anyway when a photograph is interesting, it's interesting because of the kind of photographic problem it states - which has to do with the contest between content and form.
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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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But before all else a work of art is the creation of love. Love for the subject first and for the medium second. Love is the fundamental necessity underlying the need to create, underlying the emotion that gives it form, and from which grows the unfinished product that is presented to the world. Love is the general criterion by which the rare photograph is judged. It must contain it to be not less than the best of which the photographer is capable.
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In every form of art, you really want the experience of the images to transcend the medium, for the medium to disappear into the greater experience of viewing the work. So that you forget you are looking at a painting, or a photograph.
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The photograph contains and constrains within its own boundaries, excluding all else, a microcosmic analogue of the framing of space which is knowledge. As such it becomes a metaphor of power, having the ability to appropriate and decontextualize time and space and those who exist within it.
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I feel totally responsible for what I see. I feel totally responsible for what I photograph.
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I'm a living testimony that anything is possible.
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Never stop looking, no matter where you are, everywhere there are good photographs
