Wright Morris 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 have a relatively good track record.
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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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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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A lot of the Beatles albums were very various, and we did it on purpose: We didn't want the next track to sound like the last one.
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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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When you find yourself beginning to feel a bond between yourself and the people you photograph, when you laugh and cry with their laughter and tears, you will know you are on the right track.
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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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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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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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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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My project could be only to photograph as I felt and desired, to regulate a pleasant form of living, to get up in the morning-free, to feel the trees, the grass, the water, sky or buildings, people-everything that affects us; and to photograph that which I saw and have always felt.
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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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Grubb goes back, back... He's under the warning track and makes the play.
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Actors today go into TV, which I don't consider has a lot to do with acting. They only think of stardom. If you photograph well, that's enough. I have a terrible time distinguishing one from another. Girls wear their hair the same, and are much too anorexic-looking.
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In the blur of the photograph, time leaves its gleaming, snail-like track.
