Wright Morris Quotes
Quotes to Explore
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It's all about racing on the track.
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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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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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Black-and-white photography, which I was doing in the very early days, was essentially called art photography and usually consisted of landscapes by people like Ansel Adams and Edward Weston. But photographs by people like Adams didn't interest me.
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I have a terror of things being nice and knowing what to expect. Making a photograph is a license to have experiences that I would not otherwise have.
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Only three percent of adults have written goals, and everyone else works for them.
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In the blur of the photograph, time leaves its gleaming, snail-like track.
